This album was recorded in the winter of 2024 at home. Side A was recorded by a Sony D100 recorder with electric guitar, Ebow, clips, slides, and auto electric fan. Side B was recorded through DAW with electric guitar, Ebow, effect pedals and expression controllers. The last track Move is a cover of Mississippi Fred McDowell’s You Gotta Move.Zhu Songjie

Ian Douglas-Moore is an American musician based in New York City. He uses guitar, electronic tones, and field recordings to examine the textures of layered resonant sounds as they engage with acoustic space. Dominic Coles and Eric Wong now based in Berlin. Dominic Coles’s work investigates the interactions of place, personhood, and power as they are articulated in sound, attempting to complicate and intervene in these categories through specific acts of technologically mediated listening. He runs 'Party Perfect!!!' with Hunter Brown. Eric Wong is both a guitarist and electronic musician. As an electronic musician, he focuses on utilizing smartphones and Bluetooth speakers for his compositions and performances. He has released 'Dzan-puku' (Aloe-004) with Seiji Morimoto on Aloe Records.Aloes' trio/group series is excited to present its debut album 'under under hill': An exquisite collection explores resonance and psychoacoustic experiences, achieving remarkable harmony through the interplay of prepared electric guitar, digital signals from laptop, and Bluetooth speakers within the space. Each track carries a distinct fragrance—long-lasting, crisp, and refreshing, with a hint of lightness and sweetness.

The invisible force meets the ancient object — two ensembles for the price of one and a half! Synths, sintir, and much more. Sky music by deep earth people...

Senyawa are a contemporary duo originating from Jogjakarta, Indonesia. Rully Shabara (extreme vocals) coupled with Wukir Suryadi's deft instrumentals (and homemade instruments) produce one of the most profound examples of experimental via traditional music happening anywhere today. By weaving Indonesian folkloric moods with various shades of modern genre hybrids, Senyawa has been navigating unexplored musical terrain for more than a decade. Sujudtheir premier release on the Sublime Frequencies label, is the latest chapter of this very special and singular sound of the past, present, and future. The basic theme of the record can be summed up with one extremely powerful Bahasa Indonesian word, "tanah", which translates to "soil-ground-land-earth". Shabara's vocals are an expressive force, conjuring spirits from the soil with a deep humility and respect for the land and their existence in the universe. Suryadi has built a new guitar for these tracks and pushes the Senyawa sound into new territory, utilizing delay, loops, and other effects creating grounded backdrops of folk metal, punk attitudinal, and droning earthscapes - providing Shabara the perfect context to explore his whispering poetry and jagged, sharp-as-a-kris animistic powers. There is simply no other sound like it and Sublime Frequencies is thrilled to present this new direction in their discography.

Infant Tree, August 2025   yan jun, a musician and poet based in beijing.he works on experimental music and improvised music. he uses noise, field recording, body and concept as materials.sometimes he goes to audience’s home for playing a plastic bag.“i wish i was a piece of field recording.”yanjun.org     Eric Wong is a Berlin-based musician and sound artist whose work involves auditory perception and the exploration of human relationships with sonic environments. He often incorporates spatialized sound and reduced expressions in his work, focusing on fewer gestures instead of constructing linear or non-linear sonic narratives. Wong has performed at venues and festivals including Volksbühne (Berlin), Hebbel am Ufer (Berlin), Twenty Alpha (Hong Kong), KM28 (Berlin), Ftarri (Tokyo), 411 Kent Avenue (Brooklyn), ausland (Berlin), Record Shop (Brooklyn), Q-O2 (Brussels), PAS (Berlin), Richten 25 (Berlin), Les 26 Chaises (Paris), OTOOTO (Tokyo), Ting Shuo Hear Say (Tainan), Cute Lab (Brooklyn), Moozak (Vienna), Hošek Contemporary (Berlin), Labor Sonor (Berlin), Les 26 Chaises (Paris), Freespace Noise Fest (Hong Kong), Cynetart (Dresden), Internationales Klangkunstfest (Berlin), Blaues Rauschen (Herne), Soundance Festival (Berlin), Festival Experimentelle Musik (Munich), and Sound Forms (Hong Kong). He has released music on labels Edition Wandelweiser, Creative Sources, Inexhaustible Editions, Full Body Massage Records, Lona Records, Sello Postal, Vintage Vinyl HK, Party Perfect!, Aloe Records, and Ftarri.https://www.eric-wong.net/

Infant Tree, August 2025Caius Williams is a musician from London who plays the double bass, guitar, and bass guitar. He works in collaboration with others, alongside an ongoing solo project, and often works with improvisation. Some projects include ‘Crosspiece’ (with Theodora Laird), a duo with guitarist Tara Cunningham, alongside recent performances or collaborations with Lifetones (Charles Bullen of This Heat), Steve Noble, feeo, Daniel O’Sullivan, Mark Sanders, Sachiko M, Tom Challenger, Maggie Nicols, Mark Wastell, amongst others. Caius has been running the GRAIN series at Avalon Cafe in Bermondsey for the last 3 years, which is focussed on programming new and adventurous music and nurturing a growing community with cross-scene and cross-generational collaboration. https://caiuswilliams.bandcamp.com/musichttps://www.instagram.com/caiuswilliams_https://www.youtube.com/@GrainResidency   Tara Cunningham is a guitarist and composer whose work focusses on both improvisation, and pushing the textural boundaries of her instrument. Ongoing projects include; duo with bassist Caius Williams and acid-jazz group Red Snapper. She has also recently recorded part of Jack Cooper’s Modern Nature for their fourth studio album, as well as currently working with drummer Seb Rochford on his latest project for 6 guitars.

Very limited edition cassette (15 copies) by the  south London based Duo Leisure FM axis mundi refers to a central point or connection between the earthly and spiritual realmrecorded live at SET infinity rehearsal room in woolwich, with field recordings from glasgow (june 2025)

Following a productive recording period beginning with Silk (2018) and ending with Forest Photographer (2020), Seance marks a remarkable levitation of Funke’s tender, softly spoken songcraft first documented on Lace (2008) and Felt (2012) into new creative heights. Folksong confessionals with the burden of memory. Ghostly confines, murmurs from the cracks. Soil, blood and skin. The beauty and mundanity of the everyday. The voice of Funke is a distinctive instrument, one which perfectly elucidates her sometimes confessional, at other times deeply inward allusions to love, loss, joy and disquiet. Lyrics grounded in observation and adventure (“Eyeballs, asphalt, grass clippings, peppercorns”) unravel into uneasy truths daubed in self-consciousness and forbidden desire (“I’m not shy / There's just a sparkle in your eye and I don't feel right”). The simplest things can be the most difficult to express. Opener ’Fairy Baby’ and ‘Homage’ are sensuous and probing, celebrating new beginnings while cautiously closing old chapters. ‘Quiet Shore’, a seven-minute reverie of guitar strum and poetry, conjures spirits long forgotten and shines as Funke’s first solo foray into longform songwriting. A perfect accompaniment to the album’s centrepiece, ‘Lucky Penny’, a euphoric, entrancing rush foreshadowing the delicate dreamspeak still to come. An assertive, visionary recording by one of New Zealand’s most extraordinary voices, Seance is a lover’s lament, a revealing of self and a secluded wander through fields of enchantment.

Includes a published transcription, collaged booklet of poetry and images by Yusuf Hassan, and cassette. Co-release by Séance Centre, BlackMass Publishing, and The Strangeness of Dub, March 2025 Limited and hand-stamped collaborative publication between Séance Centre, BlackMass Publishing, and The Strangeness of Dub. Includes a published transcription, collaged booklet of poetry and images by Yusuf Hassan, and cassette. In April 2022, Brandon Hocura huddled in the Séance Centre inventory closet to block out traffic noise and recorded a three hour conversation with Edward George. The exchange was modelled on The Wire magazine’s Invisible Jukebox where artist’s improvise responses to a number of songs, drawing out themes, memories, and critical reflections from their sonic praxis. In this case, the discussion sprung from George’s lauded TheStrangeness of Dub series as well as his longstanding work with Black Audio Film Collective and Hallucinator (Chain Reaction).  From the introduction: “In the 1996 film The Last Angel of History Edward George plays the Data Thief, a sonic archaeologist who travels back in time in search of fragments of Black musical technologies that hold the keys to the future of mankind. In life, as in fiction, he is a theorist of vibration, reading the melodic codes and subaltern tales embedded in sound for clues about the past, present, and future. In The Strangeness of Dub, he uncovers and elevates the discourses encapsulated within dub music — he reads King Tubby, Burning Spear, Don Drummond, and Lee ‘Scratch’ Perry alongside Foucault, Benjamin, and Derrida. In this capacious methodology of listening, knowledge is non-hierarchical and non-linear — Jah Shaka is as much a metaphysician as Wittgenstein.” Edward George is a writer and broadcaster. Founder of Black Audio Film Collective, George wrote and presented the ground-breaking science fiction documentary Last Angel of History (1996). George is part of the multimedia duo Flow Motion, and the electronic music group Hallucinator. He hosts Sound of Music (Threads Radio), Kuduro – Electronic Music of Angola (Counterflows). George’s series The Strangeness of Dub (Morley Radio) dives into reggae, dub, versions and versioning, drawing on critical theory, social history, and a deep and wide cross-genre musical selection. Edward George lives and works in London.

– limited edition of 100 copies – grey graphite cassette shell with UV printed title – double-sided full-colour 4-panel j-card – housed in a transparent norelco case On their debut album (ii), London & Vienna-based duo Bara & Isa present their singular version of devotional music. Described by the duo as a "sort of document of personal development, and also the struggles of everyday motions", this is music which embraces contradictions. Themes of reflection, acceptance and care sit side by side with notions of spiralling and falling, as Bara & Isa explore the nuances and complexities of quotidian life. Working with a rich sound palette of organ pipes, electric organ, voice notes, field recordings, vocals, harp, chimes, tuning forks, singing bowls, bells and flute, the duo slow-cooked and composed these beautiful songs between 2021 and 2024, mostly by exchanging digital files (initially during the pandemic and now between cities). And that's exactly what this music sounds like: a digital call with a loved one, glitching, slowed down, disembodied, yet heartwarming and comforting. Mesmerizing, inviting and bewildering all at once.

Shearman is one of the many alias of London based noise artist James Shearman. On Fever Dream, Shearman brings us two side long pieces. The A side “the shadow of a tongue” features vocals distorted and manipulated beyond recognition to create churning, woozy waves of harsh sound, contrasting with the more subdued, slow burn of the industrial patterns and evocative synth of B side “Heavy Refuse Fever Dream” Between his prolific output, regular live performances and his tireless commitment to live events though his Earworm promotions, James Shearman has become an essential part of U.K. noise and it’s an honour to release his work through Outsider Art.

Contact is the document of the inaugural meeting - on stage at St Georges in Bristol - between two improvisers who share a fearless approach to collaboration based in radical forms of communality and the practice and politics of deep listening. Playing together for the first time without prior rehearsal, Maggie’s voice, piano and tapdance meet Dan’s gong drones and percussive patter with profound results, presented here in full via a masterful live recording by Annie Gardiner. "From the very first sounds we made, the connection was profound and the music came through us almost effortlessly. It just keeps getting better” - Maggie Nicols

A very limited and small run of cassettes of this wonderful concert featuring original spatialization cues by Tim Bradlely on the cassettes and insert, plus some additions to the cases themselves that are unique for each cassette.Additional letters and notes from Brown, Reynolds, and Bradley provide context for the music on this lost gem. Special numbered edition of 100 tapes. The difficult to classify musical practice of Don Brown & Dan Reynolds is presented here in this unauthorized 2008 live recording of an 8 piece ensemble realizing 4 different compositions at a Grange Hall in Gresham, Oregon. An outstanding group of musicians/others, who were very active in the Portland region during the time and receptive to the ideas of Brown and Reynolds, assembled to record these 4 works which were composed decades apart. An essential piece of the Brown/Reynolds/Old/Holy music puzzle that Sacred Realism is thrilled to bring to a larger audience, the music on this recording has many references and no peers. personnel: kn harlock mark kaylor jean-paul jenkins taylor aslong aglipay thor vergotis caryl kientz andrew lafkas joe foster

Recorded live on 26 May 2024, London. Edition of 300 copies in bespoke printed case, with a download of the full set dropped to your account. Engineered by Amir Shoat, mixed by Tove Gomes-McConnell at Sydney Road Studios, February 2025. Mastered by Joe Carra.

'DOG FM is the debut release by the London-based duo of field recordist Oliver Chapman and poet Phoebe Eccles. Combining Chapman’s seemingly banal snapshots of a family car journey with Eccles’ fantastic, reflective spoken verse, DOG FM deftly transports the listener through a series of uncanny and oft-times bizarre audio travelogs where tension and expanse alternate to disorientating effect. By exploring the dynamics of a typical close-quarters family exchange, and with repeated use of ‘canine’ annotation, Chapman reimagines the car as both a confine and a means of escape, with Eccles’ verse acting as thematic glue, bonding memory, dream and textural reference to the road map. DOG FM brings a multifaceted lens over a commonplace event, exploding our expectations, and allowing us to surrender the wheel —and our fate— to kismet outcomes.' Graham Lambkin 2025

The duo of Samantha Flowers and Tyler Hicks have been perfecting their dulcet tones for over ten years now. Combining, as if in a cauldron, blender, or analogous mixing device equal parts Detroit basement blues, Wackie's style studio murk magic and an old hard drive packed to the brim with Mutant Sounds downloads, they have managed something truly rare in this most dismal of decades: sonics recognizably their own. These Kosmischen Kuriere also excel at another uncommon trait given time/place, restraint, the release in question being their first transmission since the 2021's excellent Obe Ready on Easy Listening. Zep Tepi finds our heroes in fine, dare I even say refined form, graduating from the same Berlin School that counts J.D. Emmanuel, Didier Bocquet, Osidarta &c.; among its esteemed alumni. This is no mere retro voyage to yoga studios or Emeralds gigs of yore though, there is something deeply unwell, the surface sheen cracking up somewhere along the tape's third track, as swirling dread electronics bore a hole straight to Hades. What begins as celestial junket veers towards a grotesque hall of mirrors, your regret-laden past and bleak future joining forces in mocking salute (this could simply be projection though, astral or otherwise). Backmasked synth patches, muted analog gurgle and the buzzing from a disconnected rotary dial serve as lubricant to pry open the listener's third eye, and the contents therein will please anyone who's wantlist has ever featured its share of guys who look like (and very well may have been) pre dot-com crash computer programmers and/or gatefold sleeve art depicting chess boards floating in deep space. By the final crystalline (both in terms of shimmering acoustic character and resemblance to SAB's 1978 album on Vanity, obviously) pulses of the seventh untitled mini-epic the event horizon has been breached, full ego death attained. Grade A head music from stem to stern. -- Thomas D'Angelo, Feb. '25 Regional Bears, March 2025

Looking for something out on the Chilterns, Philadelphian Christian Mirande persuaded Loiners Kieron Piercy and Anna Peaker to join him on the search. Guided by a hallucination of a Victorian cave full of grape lights, three friends venture into the heart of Tory weekend wreckage and found Pimms fueled madness and bunting choking out the working class. It produced 8 tracks of concrete, processed field recordings and acoustic flourish tracked in a cottage; glued with vari-mu compression and deep friendship.Go Birds!Regional Bears, March 2025 released March 11, 2025

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