Experimental / Minimalism

Rooted in improvisation and guided by openness, the Klinck Trio—Adia Vanheerentals (saxophone, voice), Maya Dhondt (piano, voice), and Elisabeth Klinck (violin, voice)—crafts music where sound and silence are equally vital. Their debut album is an exploration of fragility, unfolding like a delicate conversation in which each note is chosen with intention and every pause carries presence. Recorded in the summer of 2024 at Studio Ledeberg, 'My Hair Is Everywhere' captures a moment in time: three m…

"Once upon a time before dubstep, there was MXLX. A pre-teen pioneer pisstaker from the same era that spat out Black Dice, Liars, Lightning Bolt, Sunn O))), he's been forging his posi-noise/negi-trance universe 'The Croatoa Institute' for decades now. Matthew Loveridge, the lovable hater you hate to love presents a suite of post-modern minimal piano. I don't know anything about pianos but it reminds me a bit of Su Tissue's 'Salon De Musique' and Luciano Cilio's 'Dialoghi Del Presente'. I love th…

*200 copies limited edition* "Opposite directions, two different places, other means of expression—and the same extraordinary sensitivity with which Rożynek guides her sonic narrative. Two acousmonia, in which sound gradually gains vibration and density, finally blooming open and unfolding straight towards us. Pathopoeia is a term borrowed from the theory of rhetorical figures used in Baroque music—codified melodic progressions with specific assigned meanings. This figure leads sounds downward, …

"A fantastic record, filled with curves and swerves. The trio has a driving frictious nature that is fairly indelible." - TJ Norris, Toneshift

A comprehensive survey of experimental sound practices across generations, geographies, and aesthetic approaches. This four-release bundle from Dead Mind Records presents vital documents of uncompromising artistic vision: from contemporary electronic collaboration to archival excavations of ambient and industrial histories. At the center stands Carlos Giffoni & Joachim Nordwall's New Music - a visceral convergence of two sound artists operating at the outer edges of techno, noise, and electro-ac…

Melophobia spins tension out of spontaneous contact - Dave Tucker (guitar) and Pierpaolo Martino (double bass and electronics) improvise with sharp attention to rhythm, fracture, and digital manipulation, conjuring environments that threaten – and then dissolve – melodic order.

Semiotic Drift is a living conversation - Maggie Nicols uses voice as a map to possibility, Matilda Rolfsson provides creaking, insistent percussion, and Mark Wastell frames everything in the deep resonance of amplified tam-tam. The work rides the edge between storytelling and pure abstraction.

Juno invites deep contemplation through slow-moving layers of sound - Barry Chabala’s guitar, David Forlano’s electronics, and Drew Gowran’s percussion work in unhurried mutual orbit, exploring patience, resonance, and negative space rather than technical bravura.

Ensemble A is a turbulent meeting of three fiercely individual improvisers - Ignaz Schick harnesses live electronics and turntables, Anaïs Tuerlinckx dismembers and reinvents the piano, and Joachim Zoepf twists reeds into guttural shapes. The result is a volatile sound collage, sometimes blunt-force, sometimes eerily restrained.

Oneiric evokes drifting memories and waking dreams - an album created by Jane in Ether where recorders, piano, and violin/voice entwine in gauzy, tactile improvisations. Their music moves in soft spirals, trading clarity for a haze of overlapping tones and near-silence, aching toward something just out of reach.

A Stone For Angus MacLise documents a 2007 trio session recorded during the same period that produced Dauphin Elegies (VHF 112). The instrumentation—harmonium, singing bowl, gong, and esraj - reflects Pelt's longstanding interest in sustained tones and the textural possibilities of acoustic drone music. The album takes its name from Angus MacLise, the poet and percussionist who performed with the early Velvet Underground before the band's commercial recordings. Like MacLise, Pelt have maintained…

Death in the Urban Jungle by Lance Austin Olsen is an expansive electroacoustic tapestry, weaving copper plate, shruti box, tape fragments, and wordless voice into a narrative of decay and emergence. Resonances and silences shape a listening experience as tactile as it is elusive.

Liminal Spaces, by Ed Jones and Emil Karlsen, sketches a quiet but complex dialogue between saxophone and percussion. Their communication is fluid, as fleeting motifs and rhythmic fragments surface and dissolve, inviting the listener into the shifting boundaries of spontaneous improvisation.

Moon sees Simon Rose and Nicola Hein map a shifting terrain between breath and electricity. Baritone saxophone and microtonal guitar unfurl in subtle layers, crafting a microcosm where fragility and abrasion lie side by side, always moving, always searching.

Within (2) / Appearance (2) by Michael Pisaro-Liu presents a contemplative exploration of duration and silence, foregrounding gradual transformation. These extended works for guitar and double bass, created with Michael Francis Duch, reward patient listening and engage with resonance and subtlety over spectacle.

*2025 stock* There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listeners's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, 'Repeater', by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, “Maximal Repetition Minimal Devia…

Benjamin Tassie’s Earth of the Slumbering and Liquid Trees is an immersive 70-minute composition featuring performances by Zubin Kanga on keyboards, blending sampled historic organs, analogue synthesizers, and real-time digital processing. The work, part of the ‘Cyborg Soloists’ research project, was recorded live in Amsterdam and surrounds listeners with a multi-layered soundscape exploring themes of ritual, memory, and environmental transformation.​

Theo Alexander’s Stable Processes with Slow Ornaments, released by Flung Records in 2025, is a 36-minute single-movement work for viola, bass clarinet, and eight tape players. The composition fuses acoustic and electronic textures, unspooling as a patient meditation on resonance, memory, and the slow shifts of sound in space.​

Tip! Unlike anything we’ve heard from her before, Okkyung Lee returns to Shelter Press with Just Like Any Other Day (어느날): Background Music For Your Mundane Activities, a deeply intimate body of recordings at the juncture of ambient music, minimalism, and the baroque, that stands as radical intervention with what experimental music can be, and the place that organisations of sound occupy in our lives. For more than two decades, Okkyung Lee has stood at the forefront of the most radical trajector…

* 2025 edition, Gatefold edition. 2xLPs pressed on black vinyl * Ideologic Organ is proud to announce a rejuvinated version of Kali Malone's 2019 landmark album, The Sacrificial Code, featuring a new arrangement of the titular composition recorded in 2023 on the 16th-century meantone organ at Malmö Konstmuseum. Kali Malone’s landmark album The Sacrificial Code emerged from a momentous confluence of dedication and inspiration. In 2019, Malone was finishing a master's thesis in electroacoustic com…

Alga Marghen proudly presents a new chapter in the documentation series of Charlemagne Palestine's historical works. This CD of previously-unavailable recordings not only presents you Charlemagne Palestine activities in 1974, collaborating with some of most important experimental artists and composers from either the New York loft scene and Cal Arts, but also features world premiere recordings of Terry Jennings and The Fundamental D Flat Group. "Short & Sweet" is the title of a breathtaking duo …

Composed and performed by Ronan Courty, this piece for solo double bass slows down the layers of time by invoking an invented age-old music, somewhere between imaginary folklore and early music. Acoustically produced, the violent and obsessive friction of the bow on the string gradually reveals hovering layers of harmonics that extend the suspension of the moment while evoking a kind of electronically produced ambient sound; the illusion created by the emergence of sustained tones is particularl…

"Bassist Margarida Garcia and guitarist Manuel Mota are two of the best known string wielders from Lisbon's active improvising community. Both players work the edges of sound and form in ways that don't fit neatly into any genre category, while creating exciting sonic landscapes that appeal equally to fans of avant-garde rock, free jazz and experimental music. They have worked together frequently in a variety of formats -- duo, quartet, etc. -- but Margarida is the only one Feeding Tube has issu…

On Invisible, Mike Majkowski delivers a set of six immersive compositions situated at the intersection of ambient dub and textural electronica. Spanning 2019 to 2025, the album’s subtly evolving loops and enveloping atmospheres invite a deep listening experience, foregrounding mood and sonic presence over melodic statement.

*150 copies limited edition* Richard Youngs is neither a stranger to Fourth Dimension Records or creating music from a disparate array of sources that then fall somewhere near that space where immersive drones converge with something altogether more frayed, ravaged or disquiet. 'Zerkelus', named after an imaginary Babylonian king, comprises two lengthy side-long parts, with the first being akin to something of an extended orchestral tune-up utilising voice, oboe and indiscernible sources to crea…

Pièces Monophoniques by Marc Melià transforms reduction into revelation. Composed using a single analog monophonic synthesizer, it unfolds nine meditative studies on tone, silence, and resonance. The result is a luminous work where simplicity becomes substance, and constraint opens a portal to emotion and timeless stillness.

22/12/2017 Guilin Synthetic Daydream is a perceptual trap. Inspired by an experience of intense perceptive disorientation while crossing a market in China, Eve Aboulkheir reinstantiates, in the field of sounds, the swirling and anamorphic universe of thwarted perceptions, surrounding multitudes and shifted sensations. She thus constructs a dreamlike and artificial universe, suspended and hyperactive, which is both an electronic vortex sucking us in and a mechanical ballet developing its arabesqu…

Swims presents the disruptive dream-team of Kit Records founder Richard Greenan, Buenos Aires based cello experimentalist Violeta Garcia, and South African violinist and composer Galina Juritz. "Esperando a Florian" is the result of Violeta's London residency in 2022. Recorded in one take, and with a simple setup of violin, cello, electric bass, and analogue synths; the music is a tender conversation between three voices, pushing and pulling at the edge of dialogue, hesitance and reflection. Rec…

Jon Porras’s Achlys unfolds a meditative narrative across eight drone-based pieces: fragmented guitar melodies and modular synths swirl through dense atmospheres, echoing elemental habitats and ambiguous emotional states. The album rewards careful listening for its textures, cyclical patterns, and subtle resonance, inviting reflection on impermanence and change.

Unlearning noise by Eventless Plot presents two long-form compositions built on minimalism, analog electronics, and ambient fieldwork, inviting listeners to reconsider the expressive dimensions of noise within experimental sound art.

In 2016, Berlin-based artist Andrew Pekler travelled to Thailand and visited Khao Sok National Park where he gathered field recordings and recorded video footage of the park's flora and fauna. Some of excerpts of this material was used in the compositions and live presentation of Pekler's album “Tristes Tropiques”, released on the Faitiche label in 2016. Two years later, Pekler further processed, edited and mixed the materials to create the one-hour long audio-visual piece “Khao Sok Extension”.A…

A very beautiful drone album for 2 simultaneously played church organs by Ato Vari and Camille Helt Haarder aka Emilie Faber. Type 2 tape in double sided J card.

Tip! Travel, the 19th studio album by Australian improvisational trio The Necks, documents their recent practice of starting each day in the studio with a 20-minute trio improvisation. The recordings offer some of their most ecstatic and captivating music cut to tape. As bassist Lloyd Swanton puts it: “It’s a really nice communal activity to bring us together in focus each day, and some lovely music has resulted from it.” Although a straight “live” improvisation has never been recorded in the st…

Yukiko Shiina Sakurazawa and Kon Okuma’s DUO, distills collaboration to its most elemental form. Through piano, reeds, and silence, the album traces an unfolding conversation where each phrase is both response and provocation, moving between fragility, tension, and fleeting union.

Kaori Komura and Yutaka Hirose’s Diastrophism Dance, renders the Earth’s slow violence as sound. Combining environmental recordings, electronics, and acoustic fragments, it transforms geological tension into choreography—a meditation on tectonic movement, fragility, and endurance.

Takashi Masubuchi and Yosuke Morone’s Particles and Waves, drifts between gesture and suspension. With guitar, electronics, and tape fragments, the duo render vibration itself as material—each piece a study in how the smallest sonic particle can shape an immense aural field.

Shuta Hiraki and Shuma Ando’s idiorrythmie, examines the art of moving together apart. Through fractured beats, drone layers, and asymmetrical pauses, it turns musical structure into a study of parallel autonomy—two voices in orbit, touching only at unexpected points.

Shiori Sasaki’s 描奏をきく (Kiku (sense) the [drawing + sound]), transforms visual gesture into an audible world. Merging live drawing with acoustic improvisation, it invites the listener into a synesthetic space where ink lines and sonic textures share the same breath.

Patrick Quinn’s Sonifying the Sun: The Mass Emergence of Brood XIII and XIX Periodical Cicadas, blurs the boundary between scientific observation and ecstatic sound art. Using data sonification and field recordings, it shapes the cicadas’ cosmic rhythm into a resonant meditation on time, light, and collective life cycles.

Florian Kolb and Thanos Polymeneas-Liontiris’s otolith is a deep dive into the body’s hidden navigational systems. Translating sonic vibration into a study of balance and disorientation, it shifts between seismic lows and crystalline highs, mapping an aural terrain of tilt, sway, and sensory recalibration.