{"title":"EXPERIMENTAL","description":"","products":[{"product_id":"brian-eno-the-ship","title":"Brian Eno  -  The Ship","description":"\u003cp\u003e\u003cstrong\u003eReleased: 20\/10\/23\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e1LP Coloured Vinyl Edition of Brian Eno's The Ship' in eco-packaging “ Newly remastered by Miles Showell at Abbey Road “ celebrating Eno's first-ever solo tour, Ships across Europe', joined by Baltic Sea Philharmonic conducted by Kristjan Järvi in October 2023.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/em\u003e\u003cem\u003eThe Ship is a great, unexpected record. The title track and Fickle Sun (i) on their own and as a connected piece of music are marvelous accomplishments, distinctive in Eno's catalog. And I'm Set Free immediately ranks among the most perfect-sounding pop songs Eno has ever had a hand in making. “ \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003ePitchfork\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe music of The Ship is tolling and elegiac, while Fickle Sun, with lyrics about the dismal work of a soldier's life, is in constant metamorphosis. Electronic sounds melt into orchestral upheavals and guitar distortion; voices, natural and synthetic, loom from all directions. “ \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eThe New York Times\u003c\/em\u003e\u003c\/strong\u003e\u003cem\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eThe Ship is the work of someone who fully believes in the power of art as an empathic tool, as a means to invoke a particular viewpoint, an unconsidered perspective. “ \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eThe Quietus\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003esits somewhere between the chilly calm of Music for Airports and the eerie evocations of the Suffolk landscape found on 1982's On Land “ \u003c\/em\u003e\u003cstrong\u003e\u003cem\u003eThe Guardian\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e","brand":"UMC","offers":[{"title":"Limited Edition Coke Bottle Green Coloured Vinyl + Eco Packaging","offer_id":53388400263554,"sku":"DHR-00952","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/5474eb3df1eb8e1eb103615cbc0cc85c.jpg?v=1731521014"},{"product_id":"chris-and-cosey-feral-vapours-of-the-silver-ether","title":"Chris And Cosey  -  Feral Vapours Of The Silver Ether","description":"\u003cp\u003e\u003cstrong\u003eReleased: 24\/03\/23\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eCHRIS\u003c\/span\u003e\u003cspan\u003e \u0026amp; \u003c\/span\u003e\u003cspan\u003eCOSEY\u003c\/span\u003e\u003cspan\u003e have announced a remastered limited edition vinyl series, which will see many of their influential albums available for the first time, or for the first time in decades.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe series launches with Elemental 7 (1984) on green vinyl, Muzik Fantastique! (1993) on pink vinyl, and Feral Vapours of The Silver Ether (2007) on yellow vinyl - all out on CTI on \u003c\/span\u003e\u003cstrong\u003e24 March 2023\u003c\/strong\u003e\u003cspan\u003e.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe colour vinyl pressings are limited, and will include a printed inner sleeve of archival photos.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e¦ an album which shows that Carter Tutti are in a state of continuing evolution “ The Wire. 2007's Feral Vapours of the Silver Ether will be available here for the first time on vinyl, and was the second release under the Carter Tutti name. 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After the intimate song-like constructions of\u003cem\u003eOther Meetings\u003c\/em\u003e,\u003cem\u003eMaking Conversation\u003c\/em\u003edocuments a different facet of cole's work, presenting three rigorously conceptualised commissioned pieces, each of which extend her signature approach to highly amplified small sounds into new directions.\u003c\/p\u003e\n\u003cp\u003eThe side-long title piece is a stereo version of an 8-channel sound installation exhibited in 2023 at the Tabakalera Art Center in Donostia \/ San Sebastian, Spain. The piece uses a multitude of instrumental, vocal, concrete and electronic sounds to evoke the soundscapes cole encountered during nocturnal listening session in Bali, Indonesia in 2018 and 2019. In this world of night sounds, she explains, she observed the complex interplay between amphibian, lizard, bird and insect communication, domestic animals (roosters, dogs), man-made sounds (airplanes, vehicles, conversations and evening activities) and sounds that were difficult to place'. Drawing on field recordings as memory aids (but including none in the finished piece), cole's piece uncannily reproduces the spatiality and pacing of environmental sound without attempting strictly to replicate it. We hear insect-like twittering and birdsong fragments, resonant thuds and distant roars, furtive crunches and taps, muffled breath and metallic scrapes. While at times it can be difficult to imagine the source of these sounds, at other points they are clearly instrumental or electronic in origin; in its placement and layering, though, the whole assemblage suggests the glorious, unthinking richness of a non-musical sound environment. Suggesting at once the electronic gardens of Rolf Julius and the little instrument expanses of classic AACM, the piece is a brilliant enactment of the Cagean drive to imitate nature in her manner of operation'.\u003c\/p\u003e\n\u003cp\u003eValid ForeverrRrrRRrrr¦ (pt. 1)' began as cole's contribution to an Issue Project Room commission to realise a score from Alison Knowles and Annea Lockwood's Women's Work, a 1975 collection of text and conceptual scores by women artists and composers. cole's piece begins from Beth Anderson's Valid for Life, a complex arrangement of the letter R in various typefaces. Where the composer suggests a realisation on a trio of acoustic instruments (playing rolls with velvet beaters), cole translates the piece into her characteristic sound and object language as a trio of rolling sounds on two large similar paper things and one 5-pin bowling ball'. Rolling from one side of the stereo field to the other, the bowling ball's uneven movement is the heart of this immersive textural array, created with the simplest materials, which generates phantom sensations of pitch and phasing effects solely through amplified friction.\u003c\/p\u003e\n\u003cp\u003eOn Valid ForeverrRrrRRrrr¦ (pt. 2)', cole makes a first foray in translating her signature approach into conventional instrumental sounds, here in the form of a transcription for MIDI percussion ensemble. 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Eiko's score initiated the project that has become his celebrated new film (Best Picture “ BFI London Film Fest, Asian Film Awards, Silver Lion “ Venice Film Fest, Best Score “ Asia Film Awards). Every nuance mixed and mastered by Jim O'Rourke.\u003c\/p\u003e","brand":"Drag City","offers":[{"title":"LP","offer_id":53388412060034,"sku":"DHR-01148","price":10.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/5133cb69603a89fcaab22877f3b2a80b.jpg?v=1731522416"},{"product_id":"isik-kural-moon-in-gemini","title":"Isik Kural  -  Moon In Gemini","description":"\u003cp\u003e\u003cstrong\u003eReleased: 06\/09\/24\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIsik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in \u003c\/span\u003e\u003cspan\u003eintuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-aspossible.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe songs on Moon in Gemini don't mind being slower or taking their time to reach the listener, says Isik, who wanted the title to speak to the album's dreamy, liminal nature. I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously, he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eInspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. 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Transcendental poetry meets Southern Nightmare Jazz on the third album by Alabama-based artist Johnny Coley. Mister Sweet Whisper is the meeting of poet \u0026amp; artist Johnny Coley and the band Worst Spills, led by guitarist \u0026amp; arranger Joel Nelson. (Imagine King Tubbys Meets Rockers Uptown, but more like William Burroughs Meets Lounge Lizards in Ghost Swamp). Joined by vibraphone player and recordist of the group, Jasper Lee, Mister Sweet Whisper centers Coley as a gifted writer and unique elder voice, supported by an eclectic cast of friends \u0026amp; collaborators. Tapping into French surrealism and transgressive American poets such as John Ashbery, the songs in Mister Sweet Whisper evolve, cinema-like, with Coley as an uninhibited, almost mystical, narrator. Textural, jazz-like playing complements Coley's decadent landscapes, which glide by like cigarette-inspired invocations. Echoing, and at times, dissonant notes of saxophone, crystalline tones of vibraphone, and jagged guitar arrangements punctuate Coley's dreamlike visions, populated by ballet dancers, haunting nightclubs, and ghostly car drivers. Wistful and expansive, the songs in Mister Sweet Whisper speak of Coley's talent and natural ability to channel his poetic world into songs. A remarkable follow-up to Coley's first two albums Antique Sadness, from 2021, and Landscape Man, from 2022”which were praised as exquisitely haunting, sublime, hilarious and falling somewhere between Robert Ashley, David Wojnarowicz, and Intersystems, Mister Sweet Whisper arrives in full form: unpredictable and brilliant.\u003c\/p\u003e","brand":"SECRE - SECRETLY CANADIAN","offers":[{"title":"LP","offer_id":53388436799874,"sku":"DHR-01452","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/759fcc5d070cfdabe1f56616661eb8be.jpg?v=1731524684"},{"product_id":"maggie-nicols-are-you-ready","title":"Maggie Nicols  -  Are You Ready","description":"\u003cp\u003e\u003cstrong\u003eReleased: 04\/11\/22 (delayed from 21\/10\/22)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWhile she might be best known as an improviser (most notably in the Spontaneous Music Ensemble, the Feminist Improvising Group and more recently with the likes of Les Diaboliques), Maggie Nicols' talents stretch into song, dance, poetry, performance and composition. When Cafe OTO was shut over lockdown we invited her to follow up the wonderful solo Creative Contradiction' with some time spent singing alone at the piano. Are You Ready?' comprises an LP of songs and a 2CD edition which includes a companion disk of freely improvised meditations entitled, Whatever Arises.' Songs - seemingly contradictory to the practices of free improvisation - have been a vital part in Nicols' relationship to music. It was singing bebop with pianist Dennis Rose which nurtured and challenged Nicols, allowing her to develop her own skills and sound amongst a repertoire of standards sung in clubs and pubs. Singing alongside Julie Tippetts in Centipede showed her how heady experimentation could be woven into composition, and a more recent gig with pianist Steve Lodder played out The Maggie Nicols Songbook.' Are You Ready? recalls Nicols' own compositions from memory, working out tunes and turning them over. New routes down old paths form in moments of improvisation and all wrong turns are played out with joyous discovery. What John Stevens dubbed Maggie's ability to find the rhythmelodic' meets a willingness to be understood and to understand. Solo at the piano, Nicols is still firmly rooted in the collective however - Sans Papiers sets the words of poet Vicky Scrivener to tune; a story of migration and struggle which is as important to Nicols as the songs her mother wrote. Such an intimate recording of her own compositions came with a certain amount of reflection and anxiety - best confronted with time spent freely improvising. Whatever Arises' - a companion disk to the Songs' - is a meditation of sorts, a process of following the energy' which has its roots in John Stevens' work. Improvisation gives the confidence to compose, Nicols told us in an interview about some of her archival tapes, and here the two are as important as each other. Beginning with breath and repetition, Whatever Arises' allows Nicols' to find new voices, accompanied by the piano and over dubbings of her tap shoes on the concrete floor. Brilliantly she is able to share her moments of discovery with the listener, finding comfort in vulnerability. Whilst rooted in Stevens' work, Nicols' improvisational techniques also remind us of Pauline Oliveros' Sonic Meditations. They are what has allowed Nicols to find her own sound, to teach herself to fly.' They have allowed Nicols to grow and share and to be able to keep close the songs that mean so much to her, now shared with us. 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Both works are expressed from the same ecosystem, cut from the same cloth.\u003c\/p\u003e\n\u003cp\u003eThe following is a listening experience testimonial written by Matt Baldwin - esteemed Californian guitarist, writer, and psychotherapist trained in psychedelic psychotherapy: \"An encounter with this music is like finding a trapdoor in the floor of your room and realising that there has always been an endless network of glittering caves right beneath your feet. And what's more: the caves are somehow alive and networked with the pale golden filigree of secret sigils inscribed with the subtle fire of moonphased zither song. It's worth pointing out that, in dream analysis, dreams about finding hidden spaces often symbolise an expanding sense of self-possibility. Matthewdavid has created a work of art that is the hidden twin of silence and darkness. Not the darkness of fear and isolation but the velvet darkness that germinates, gently caressing new forms into being. 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You really have to look at the backcover to find out that this is a German outfit instead of one of these utterly hot and hip US funk rock cult bands of the time. NIAGARA aka Klaus Weiss waive the vocals so it is an instrumental record you face with S.U.B', but then this band goes so wild in some of the compositions, that you will be left breathless on your knees by all these simmering performances. Each musician participating in this project is a professional, but they all let the music erupt into a climax of sound you can only achieve, when you put your whole heart and soul into it. 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Influenced by minimalist tenets, baroque chordal suspensions, and experimental production practices, her sound creates an experience that blurs the lines between consonance and dissonance. Late Music is pleased to offer a triad of official vinyl reissues for Davachi’s seminal albums originally released between 2015 and 2018. Released 6 June 2025, the records included are Barons Court (2015), All My Circles Run (2017), and Let Night Come On Bells End The Day (2018).\u003cbr\u003e\u003cbr\u003eSarah Davachi is a composer and performer whose work is concerned with the close intricacies of timbral and temporal space, utilizing extended durations and considered harmonic structures that emphasize gradual variations in texture, overtone complexity, psychoacoustic phenomena, and tuning and intonation. Her work is entrancing and physical, often leading to states of \"where am I, and what is happening?\".\u003cbr\u003e\u003cbr\u003eHer compositions span chamber ensemble, and acousmatic formats, incorporating a wide range of acoustic and electronic instrumentation.\u003c\/p\u003e","brand":"Late Music","offers":[{"title":"black vinyl","offer_id":55164045164930,"sku":"DHR-04165","price":26.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/bfb1bf38fd6932dfec6e5294ff209b91.jpg?v=1745920626"},{"product_id":"oliver-coates-mary-george-original-series-soundtrack","title":"Oliver Coates  -  Mary \u0026 George (Original Series Soundtrack)","description":"\u003cp\u003ePreeminent cellist \/ composer Oliver Coates follows his scores for Aftersun and Foe with a stately string and electronic orchestration for Tudor and Stuart-era period drama Mary \u0026amp; George. Coate’s score draws on his roots in classical, electronic and club music to accompany an adaptation of the non-fiction book The King’s Assassin by Benjamin Woolley, which outlines the romantic affair between King James VI and I and George Villiers, 1st Duke of Buckingham.\u003cbr\u003e\u003cbr\u003eThe score sees Coates reaching for a suitably lavish palette of strings, from symphonic to puckered chamber arrangements, sometimes underlined with Burial-esque beats and choral pads, as in ‘France’, or alloying the two in a way recalling Nicholas Britell’s ‘Succession’ soundtrack. There’s enough harpsichord to make the ruffed-necks swoon, and Coates takes the license to distort sounds to taste when necessary, resulting a clear highpoint in his work, both solo and for film.\u003c\/p\u003e","brand":"INVADA","offers":[{"title":"Half red, half black LP","offer_id":55186342805890,"sku":"DHR-04227","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/91aec0dfc4e579ca9f4bbd8d25cc4a60.jpg?v=1750346237"},{"product_id":"ensemble-nist-nah-spilla","title":"ENSEMBLE NIST-NAH  -  Spilla","description":"\u003cp\u003eSpilla, the second album from Nantes-based Ensemble Nist-Nah, 48 minutes of music for Gamelan, drum kits, wood and metal percussion instruments, and plucked strings that will surely count as one of the most electrifying records you hear this year. Founded by the Australian drummer\/percussionist Will Guthrie in 2019, continuing the explorations begun in solo form on Nist-Nah (Black Truffle, 2020), the ensemble (eight or nine core members with occasional guests) has been consistently active in the half-decade since: composing, rehearsing, recording and touring Europe (with a mass of equipment in tow) to great acclaim. \u003cbr\u003e\u003cbr\u003eBeautifully recorded and mixed, Spilla arrives in a sleeve decorated with core member Charles Dubois’ drawings of cymbals and gongs. Against the backdrop of a wider musical landscape dominated by over-produced electronic slop and bland harmonic wallpaper, Ensemble Nist-Nah stands out as a reminder, vital and unpretentious, of the joys and possibilities of human beings playing instruments together.\u003cbr\u003e\u003cbr\u003eSpilla tracks the continuing evolution of the project since the recording of their first album, Elders. The two sides of this record document two different iterations of the group, and the members' compositional input has increased: each side contains one piece by a member other than Guthrie. It has become clearer than ever that Ensemble Nist-Nah is not an attempt at a European Gamelan ensemble but rather a hybrid percussion ensemble that uses instruments from a Javanese Gamelan alongside other percussion to perform original music informed by a variety of South East Asian music but also by everything from free jazz to contemporary hip-hop: while Nist-Nah and Elders both featured traditional Javanese pieces, on Spilla the only tune not generated by a member of the group is by Guthrie’s long-time musical hero and occasional collaborator Roscoe Mitchell.\u003cbr\u003e\u003cbr\u003eThe two short pieces that open the record could almost be the two sides of a wild 7” selected to show off what the Ensemble can do. On opener ‘Gerak Maju’, intricately skittering open-snare patterns bounce over clanging metal, chiming bell-like tones and deep gong hits, adapting the rhythm-register connections heard in traditional Gamelan musics—where the lowest pitched sounds are heard least frequently—to a cut-up breakbeat straight off Feed Me Weird Things. ‘Strollabout’ then moves into an entirely different realm of meditative repeating patterns, performed entirely on Chinese, Javanese and Vietnamese gongs. \u003cbr\u003e\u003cbr\u003eThe remaining seven pieces, ranging from three to twelve minutes, offer up a wealth of different percussive, compositional and arrangement possibilities. On ‘Ghostly Klang’, two drumkits mirror each other’s moves, bouncing hats and snares across the stereo field in a way that recalls On the Corner and the jittering hi hat patterns of trap, while slow moving melodies on the tuned instruments add a sense of majesty contrasted by scurrying details in resonant wood. The epic closing track presents a take on Roscoe Mitchell’s ‘Uncle’, performed by the Art Ensemble of Chicago on their classic Urban Bushmen live album. Where the Art Ensemble used Mitchell’s dirge-like melody as a jumping off point for virtuosic improvisational flights, Ensemble Nist-Nah rethink the piece as a near-static dialogue between the monumental, slow-moving sequence of unison tuned percussion notes and a textural cloud that grows in richness and intensity from whispering cymbal rolls into a mass of gong overtones and bowed metal.\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"LP","offer_id":55192223678850,"sku":"DHR-04243","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/b9752bc2310eea3dca441356826eba40.jpg?v=1750952745"},{"product_id":"bill-orcutt-a-mechanical-joey","title":"BILL ORCUTT  -  A MECHANICAL JOEY","description":"\u003cp\u003eBill Orcutt is of course famous for his bluesy free improv acoustic guitar playing, which he has been performing since he re-emerged with the 2009 solo album A New Way To Pay Old Debts, 12 years after the dissolution of his seminal noise rock band Harry Pussy. He has also held down day jobs as a software engineer at various Silicon Valley companies for the last two decades. Apart from certain errant excursions such as Harry Pussy’s final album Let’s Build A Pussy, which consists of Orcutt timestretching a second of the voice of Harry Pussy drummer Adris Hoyos into an hour, and notwithstanding the fact that since 2011 his albums have been released by electronic music label Editions Mego, there was previously a marked divergence between the computers of Orcutt’s career and the eschewal of digital manipulation in the uncompromisingly visceral playing of his vocation, in which the pluck of every string is palpable. This changed in 2016, when he released the avowedly primitive open source live coding audio program Cracked, which consists only of a window in which commands are typed. Since then, Orcutt has been intermittently releasing music made with the app on his DIY label Fake Estates, A Mechanical Joey being the latest. Its two sides comprise one continuous track, lasting 35 minutes in total, during which Orcutt creates the illusion that a sample of Joey Ramone counting in a song accompanied by drumbeats is moving forwards and backwards in space. It is a sequel of sorts to last year’s Pure Genius, another release by Orcutt made on Cracked, which consists of various computer generated voices counting, accompanied by bleeps ascending the chromatic scale. The blurb for that record claims that it was borne of the fact that 'while stuck out on the left coast surrounded by braying tech bros,' Orcutt 'realized that we, the plebs, will eventually be here only to serve the machines'. But perhaps the return of the human voice on A Mechanical Joey is his indication that we might be able to resist after all.\u003c\/p\u003e","brand":"Fake Estates","offers":[{"title":"LP","offer_id":55204905714050,"sku":"DHR-04263","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/ba42142e21d4f34fad6765f5e8cd6607.jpg?v=1748525310"},{"product_id":"silver-apples-silver-apples","title":"Silver Apples  -  Silver Apples","description":"\u003cp\u003e\u003cspan\u003eHighly influential and revolutionary LP. Formed in 1967 as a psychedelic electronic duo featuring Dan Taylor on drums and Simeon on a homemade synthesizer consisting of 12 oscillators (and an assortment of sound filters, telegraph keys, radio parts, lab gear and a variety of second hand electronic junk), Silver Apples quickly gained a reputation as New York’s leading underground musical expression. Their pulsating rhythmic beats with the use of electronics laid the groundwork for what would become “Krautrock”. Silver Apples was released in 1968 and still remains an innovative and revolutionary album. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more. ”Silver Apples… a beautiful and mysterious artifact.” - New York Times.\u003c\/span\u003e\u003c\/p\u003e","brand":"Jackpot","offers":[{"title":"Smoke Coloured Vinyl","offer_id":55253313028482,"sku":"DHR-04338","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/0884760a67ded4e1a3b186d8884e8166.webp?v=1752757927"},{"product_id":"kassel-jaeger-fernweh","title":"Kassel Jaeger  -  Fernweh","description":"\u003cp\u003eBlack Truffle is pleased to announce a new edition of Kassel Jaeger’s Fernweh, returning François J. Bonnet’s electroacoustic project to the label five years after the acclaimed Meith (BT069). \u003cbr\u003e\u003cbr\u003eOriginally released on Giuseppe Ielasi and Jennifer Veillerobe’s impeccably curated Senufo Editions in 2012, Fernweh stands near the beginning of the gradual expansion of Bonnet’s approach after the austere acoustic textures of Aerae and Algae (both released on Senufo), leading to the lush, layered environments of recent solo works on Shelter Press and the epic electronic expeditions undertaken in duo projects with Stephen O’Malley and Jim O’Rourke.\u003cbr\u003e\u003cbr\u003eA major work in the Kassel Jaeger oeuvre, stretching over two LP sides, Fernweh draws together synthesized and musique concrète materials into a drifting assemblage. Its title’s meaning is close to the concept of ‘Wanderlust’, fitting for this music that moves freely and unexpectedly between what Bonnet calls ‘climates’. Beginning with fizzing electronics whose rhythm of gradual approach suggests breaking waves, the clinical atmosphere is soon haunted by intangible traces of lived reality. Textures call up wind, water, insects, the crunch of feet on sand or the clinking of glasses, yet they can never be identified with any certainty. At times these concrete elements possess a vivid ‘closeness’; at others, the sounds shade into a formless distance. Though the listener forms no clear picture from the concrete sounds, these elements aerate the music, lending it their space.\u003cbr\u003e\u003cbr\u003eDrawing from the rigorous formal language and conceptual apparatus of the French musique concrète tradition—with which Bonnet, as director of the GRM and researcher into its deepest archival recesses, is intimately familiar—the music of Kassel Jaeger is equally informed by how underground experimental music has rethought electroacoustic techniques, with Fernweh at times calling up the grit and grime of para-industrial eccentrics like Maurizio Bianchi or the Toniutti brothers, and at other moments suggesting the slow-moving grandeur of early Olivia Block. \u003cbr\u003e\u003cbr\u003eSubtle features of dynamics and rhythm act as connective tissue between the numerous ‘scenes’, with wave-like envelopes, rapid pulsations, and short, tape-loop patterns all recurring throughout the piece, shared ambiguously between electronic and concrete sounds. Amid these shifting, often inharmonic textures, the electronic elements sometimes cohere into melodic shapes and chordal patterns, cutting through the fog in distorted arcs or underpinning the layered surface with slow-moving harmonies. \u003cbr\u003eLike his friend and collaborator Jim O’Rourke, Bonnet displays a radical openness at odds with academic tradition, allowing unabashed emotion to coexist with rigorous experimentation. As Fernweh dies away with mysterious shudders, listeners are left at once moved and unsure of exactly what they just heard.\u003cbr\u003e\u003cbr\u003eTracklisting\u003cbr\u003eA\u003cbr\u003eKassel Jaeger Fernweh I 00:18:22\u003cbr\u003eB\u003cbr\u003eKassel Jaeger Fernweh II 00:18:27\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"LP","offer_id":55307118150018,"sku":"DHR-04431","price":25.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/a97df645b3291673b79697f3810ce132.webp?v=1752160532"},{"product_id":"silver-apples-contact","title":"Silver Apples  -  Contact","description":"\u003cp\u003eThe 1969 follow up to Silver Apple’s debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs. While the debut set the stage for a sound the world had never heard before, Contact is where the Silver Apples began inhabiting that sound with more urgency and experimentation. Sourced from the original master tapes plus inner sleeve with unseen master tape box photos. Featuring the original controversial artwork with the Silver Apples in the cockpit of a Pan Am jet on the front, and a plane crash with the duo superimposed over it, on the back. The airline sued both Kapp Records and the band, forcing the band to break up. Their highly influential sound has influenced countless bands from Stereolab, Beastie Boys, Blur and more\u003c\/p\u003e","brand":"Jackpot Records","offers":[{"title":"Blue w\/ White \u0026 Black swirl Vinyl","offer_id":55336515666306,"sku":"DHR-04494","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/9d03bf6526820865af9ac22ceea575e0.jpg?v=1753949524"},{"product_id":"phew-erika-kobayashi-dieter-moebius-radium-girls","title":"Phew, Erika Kobayashi, Dieter Moebius  -  Radium Girls","description":"\u003cp\u003eIn the shadow of the nuclear accident in Fukushima in 2011, Japanese musician Phew, artist Erika Kobayashi, and German electronic music pioneer Dieter Moebius (Cluster, Harmonia) came together for an extraordinary project. Together, they developed the concept album Radium Girls 2011, which they released in 2012 under the project name Project UNDARK — 114 years after the discovery of radium by Marie and Pierre Curie. The album is dedicated to the so-called Radium Girls, female factory workers in the United States during the 1920s who painted watch dials with radioactive luminous paint and suffered severe health consequences from radium poisoning. On the occasion of the 80th anniversary of the atomic bombings of Hiroshima and Nagasaki, the label Bureau B is reissuing Radium Girls — for the first time also on vinyl.\u003c\/p\u003e","brand":"BUREAU B","offers":[{"title":"LP","offer_id":55393706115458,"sku":"DHR-04556","price":28.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/8425b9c4b35c4e21a0eb51a64bed6f32.jpg?v=1757159967"},{"product_id":"bill-orcutt-jump-on-it","title":"BILL ORCUTT  -  JUMP ON IT","description":"\u003cp\u003e\"Charlie Parker's first album with a string section landed in 1950, ten years after his debut recordings. Although the overtly lush arrangements of Charlie Parker with Strings were Parker's idea, the record must've been something of a relief to producer Norman Granz, especially when the sides went on to become Bird's best-seller, by a long shot. The record (and its follow-up) sparked something of a jazz-strings virus, infecting Nina Simone, Paul Desmond, Clifford Brown, and (later) Miles and Trane. And while the latter entries in that list were clearly bending their arrangements into space-age forms (and the arrangers—Gil Evans, Eric Dolphy—were becoming much hipper), these ubiquitous strings albums established a jazz cliché of sorts. They were a shot for the charts at worst, an attempted reinvigoration of tired easy-listening ear candy at best. How to Rescue Things, landing 15 years into Bill Orcutt's 'rediscovery' years, marks a somewhat tardy entry into the string- sweetening sweepstakes. In a post-chart, post-irony world, no one is going to mistake this as a bid for mainstream ears—nor are too many pop-gobblers going to paste this into their 'Chillax' playlist. With loops of dulcet, birdsong choruses, syrupy strings, and plucked harps clipped from an RCA easy-listening disc, the zombie strings conjure not red leather couches, cotton slankets, and yuzu martinis, but rather a clockwork mortuary, an undead Who-ville and a cigarette butt drowned in bottom-shelf scotch. In contrast to Orcutt's previous reanimation of yesterday's hit parade, How to Rescue Things instead takes as its foundation the oily underbelly of the American songbook, the relentless gears that churn melody into newly consumable and marketable forms—simultaneously ersatz, soothing, and funereal. It's easy to use saccharine, easy-listening settings to deconstruct the romanticism of the past. Yet How to Rescue Things is not an ironic record. True to its title, the transparently corny strings serve not as a meditation on cultural vacuity, but as an attempt to rehabilitate the clichés of the past, 'rescuing' them as improvisational grist for new melodic content. They serve as a harmonic substrate for some of Orcutt's most complex playing, and free him to explore the solo-as-such without the need to imply an underlying tune (unlike Orcutt's previous acoustic explorations of nostalgic song). Orcutt's razor-sharp Fender slices through the satiny settings in angular and unexpected ways, particularly in the final tracks 'Requiem in Dust' and 'The Wild Psalms,' where his double picking swerves into almost Sharrock-ian territory. But ultimately, true to the Parker records that started this whole trope in the first place, Orcutt sticks to a complex yet tonal path throughout, imbuing tracks like 'Not Reconciled' (with its crooned 'Oh my god' and a cheeky 'amen' tacked to the end) with wide-eyed romantic optimism that goes down strange in a deathbed ballad. But ultimately, it's not strange at all. Rather, this palliative track celebrates a necessary, death-defying joy in the face of darkness—whether genuine or performative is unimportant. And what's more genuinely American than whistling past the graveyard? Just ask Judy Garland.\"—Tom Carter\u003c\/p\u003e","brand":"PALILALIA","offers":[{"title":"LP","offer_id":55580228190594,"sku":"DHR-04758","price":32.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/ff81fa08f2e14d5b946c93ae078694b8.jpg?v=1756477131"},{"product_id":"bill-orcutt-how-to-rescue-things","title":"BILL ORCUTT  -  HOW TO RESCUE THINGS","description":"\u003cp\u003e\"Charlie Parker's first album with a string section landed in 1950, ten years after his debut recordings. Although the overtly lush arrangements of Charlie Parker with Strings were Parker's idea, the record must've been something of a relief to producer Norman Granz, especially when the sides went on to become Bird's best-seller, by a long shot. The record (and its follow-up) sparked something of a jazz-strings virus, infecting Nina Simone, Paul Desmond, Clifford Brown, and (later) Miles and Trane. And while the latter entries in that list were clearly bending their arrangements into space-age forms (and the arrangers—Gil Evans, Eric Dolphy—were becoming much hipper), these ubiquitous strings albums established a jazz cliché of sorts. They were a shot for the charts at worst, an attempted reinvigoration of tired easy-listening ear candy at best. How to Rescue Things, landing 15 years into Bill Orcutt's 'rediscovery' years, marks a somewhat tardy entry into the string- sweetening sweepstakes. In a post-chart, post-irony world, no one is going to mistake this as a bid for mainstream ears—nor are too many pop-gobblers going to paste this into their 'Chillax' playlist. With loops of dulcet, birdsong choruses, syrupy strings, and plucked harps clipped from an RCA easy-listening disc, the zombie strings conjure not red leather couches, cotton slankets, and yuzu martinis, but rather a clockwork mortuary, an undead Who-ville and a cigarette butt drowned in bottom-shelf scotch. In contrast to Orcutt's previous reanimation of yesterday's hit parade, How to Rescue Things instead takes as its foundation the oily underbelly of the American songbook, the relentless gears that churn melody into newly consumable and marketable forms—simultaneously ersatz, soothing, and funereal. It's easy to use saccharine, easy-listening settings to deconstruct the romanticism of the past. Yet How to Rescue Things is not an ironic record. True to its title, the transparently corny strings serve not as a meditation on cultural vacuity, but as an attempt to rehabilitate the clichés of the past, 'rescuing' them as improvisational grist for new melodic content. They serve as a harmonic substrate for some of Orcutt's most complex playing, and free him to explore the solo-as-such without the need to imply an underlying tune (unlike Orcutt's previous acoustic explorations of nostalgic song). Orcutt's razor-sharp Fender slices through the satiny settings in angular and unexpected ways, particularly in the final tracks 'Requiem in Dust' and 'The Wild Psalms,' where his double picking swerves into almost Sharrock-ian territory. But ultimately, true to the Parker records that started this whole trope in the first place, Orcutt sticks to a complex yet tonal path throughout, imbuing tracks like 'Not Reconciled' (with its crooned 'Oh my god' and a cheeky 'amen' tacked to the end) with wide-eyed romantic optimism that goes down strange in a deathbed ballad. But ultimately, it's not strange at all. Rather, this palliative track celebrates a necessary, death-defying joy in the face of darkness—whether genuine or performative is unimportant. 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It's a fully immersive experience that re-contextualizes the trio's years of work in extreme experimental music by concentrating on texture, atmosphere and sensory overload. The noise itself is used to provoke a refined level of focus; Nocturnal Rainforest is mediative in its own way, enveloping listeners with waves of distortion, phantasmic unmetered rhythms and perplexing processed field recordings, but it's not intended for passive listening. Made using a fusion of bespoke techniques the trio have been developing for decades, it exists in a raw and mystifying liminal zone between the organic realm and the digital world - a place that's too hauntingly familiar to be ignored. \u003cbr\u003e\u003cbr\u003eOne of the world's most notorious and most prolific noise artists, Akita has release acclaimed genre-defining albums on labels as diverse as Relapse, Important Records, Tzadik, Cold Spring and Soleilmoon, and collaborated with a diverse spread of artists, from Keiji Haino and Mika Patton to Melt-Banana and Boris. Since 1979, he's released over 500 Merzbow records, including 1984's tape experiment 'Pornoise\/1kg Vol.1', 1996's noise wall milestone 'Pulse Demon' and 2005's dubby 'Merzbuddha'. Meanwhile, Cavalera is best known for co-founding Brazilian metal act Sepultura, and since leaving the band in 2006, he's been constantly re-examining his relationship with underground experimental music, working alongside artists like Laima Leyton, Ninos Du Brasil, Raven Chacon, Linekraft, Petbrick, Pig Destroyer, Soulwax, Dwid Hellion, Shane Embury, amongst others. Bernocchi started his journey in the '70s playing in various punk bands, and came of age in the '80s when he co-founded post-industrial collective Sigillum S and making connections that stretched across the entire global underground. An active member of the influential illbient movement, he worked with some of the genre's crucial figures such as Spectre, Bill Laswell and DJ Olive, recording for WordSound as well as cult hip-hop imprint Rawkus. And Bernocchi has continued to innovate, working as SIMM with Grammy-winning grime MC Flowdan and recording with Harold Budd, Cocteau Twins' Robin Guthrie, Gaudi Nils Petter Molvaer, Hoshiko Yamane and many others.\u003cbr\u003e\u003cbr\u003eNocturnal Rainforest is a product of each artist's ongoing musical evolution, powered by extreme music but tempered by deep listening techniques that expect presence rather than dissociation. On 'Swietnenia Macrophylla', evocative humid soundscapes provide a precarious sense of security at first, blurred at the edges by purring oscillations that mimic the jungle's fauna. And that peace is quickly ruptured by percussive, foghorn-like distortions that mark out the scale of the trio's vision. Not just raw noise, the rougher elements are cut with subtle waves of billowing ambience and muggy low- end drones before the track launches into a symphony of computerized stutters. There's a constant push and pull between organic and artificial sounds - before there's been time to acclimatize to the DAW-corrupted noise, collaged tape saturations and slashed amplifier hum muddies the atmosphere, purposefully confusing the senses and obfuscating the sources. \u003cbr\u003e\u003cbr\u003eAnd the thought is continued on 'Ceiba Pentandra' when the trio follow the jungle's teeming sonics with growling, whirring electronics and dense interference. 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This well travelled upbringing would no doubt prove of spiritual significance on Dungan’s emergence as a singular artistic voice, traversing the planes of Ambient, Americana, with hues of Kosmische, uniquely infused with his own Nordic aesthetic.\u003cbr\u003e\u003cbr\u003eThe solo project (Blue Lake), now on its fifth album, found its name and inspiration via Don Cherry’s 1974 live album, sparking a creative epiphany in Dungan, who set off on a path into his own untapped sonic world, guided by what he cited as the emotional potential found within non-lyrical composition. With a newly inspired ethos aimed toward creating direct and simple instrumental music imbued with a deep sense of feeling, Jason began combining an array of musical elements that gave rise to his highly revered album Sun Arcs (2023), with its “ornate, zither-led lattices” (Pitchfork, Best New Music). 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Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eThe collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the\u003c\/span\u003e\u003cspan\u003e music on Dessogia\/Queetch\/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’.\u003cbr\u003e\u003cbr\u003eRecording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects.\u003cbr\u003e\u003cbr\u003eEpic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia\/Queetch\/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"Dreamhouse Records","offers":[{"title":"3LP","offer_id":55894014787970,"sku":"DHR-05160","price":27.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/8024733743ebeb087ba596ae0dda7905.jpg?v=1761851049"},{"product_id":"arca","title":"Arca  -  @@@@@","description":"\u003cp\u003eArca’s @@@@@ mixtape receives its first ever vinyl pressing, a landmark moment for one of her most celebrated works. 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Rooted in Byzantine chant, this a cappella tradition essential to monastic life featuring intricate yet serene melodies designed to facilitate prayer and contemplation, using a system of modes and scales to create a meditative atmosphere.\u003c\/p\u003e\n\u003cp\u003eTrans-disciplinary, this effort of documentation also comprehends an artistic re-interpretation aspect inviting contemporary Greek and foreign artists to reflect on the subject.\u003c\/p\u003e\n\u003cp\u003eA musical compilation which captures original field recordings from the 1960s and from today capturing the essence of liturgical music on Mount Athos, but also new compositions inspired by them by artists such as Holy Tongue (UK), Jay Glass Dubs (GR), Prins Emanuel \u0026amp; Inre Kresten Grupp (SWE), Jimi Tenor (FI), Gilb'r (FR), Daniel Paleodimos (GR), Esma \u0026amp; Murat Ertel (TUR) and Organza Ray (GR\/US).\u003c\/p\u003e","brand":"W\u0026S MEDIEN GMBH","offers":[{"title":"2LP","offer_id":56036693311874,"sku":"DHR-02492","price":31.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0556\/2800\/5583\/files\/b00056d051024f7ddb630bd19ef8413c.jpg?v=1764775468"},{"product_id":"gentle-stranger-love-and-unlearn","title":"Gentle Stranger  -  Love And Unlearn","description":"\u003cp\u003e\u003cspan\u003eOne might have a feel that Gentle Stranger’s absurd is drowned out by the overall chaos, but – contrary to appearances – this is a skilfully crafted mosaic, combining elements of folk, rock, jazz, shanties, trippy electronics and no wave. 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