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February of 2021 marked an eventful month for visionary Western Massachusetts electro-acoustic percussionist Jake Meginsky: the birth of his daughter Luce, the death of his friend and mentor (and the subject of his celebrated 2018 documentary, Full Mantis) Milford Graves, and the creation of Trinities. A four-piece suite heavily inspired by Graves’ notion of the primacy of threes as “a fundamental pattern in the universe - and the lowest, strongest and most generative structure in rhythm” the album showcases Meginsky’s adventurous vein of pointillist minimalism: stark, oblique, cerebral, fluid. It’s free music in both form and function, liberated from rhythm, pattern, or expectation. Abrupt flurries of metallic reverberations ping and echo against charged silences like avant-garde morse code. Textures clang and hang in low-lit air. Presence and absence commingling in elusive ballets of resonance and negative space.

Among the many influential teachings of free jazz icon Milford Graves was the idea of three-ness as “the underlying structure… the grounded being of all music.” It’s a concept both dialectical and divine – the sacred geometry of an idea, its opposite, and the synthesis that binds the two. For Trinities, Meginsky developed modular synth patches that allowed him to explore triplet structures in an intuitive way, “the threes as a structural principal, the building blocks, felt rather than heard”. During sleep deprived sessions with his newborn infant listening, he channeled the grief of Graves’ passing in early morning improvisations alternately quiet and questing, inquisitive and defiant.

The outlier is “2521,” a celestial lullaby of suspended frequencies composed on a 4-track in the birthing room of the hospital during a particularly strict phase of quarantine lockdown (no coming or going, or visitors, for a week straight). Meginsky played the piece for his daughter “as she came into this world, and while she slept.” Its harmonic tranquility ebbs and radiates in soft arcs like a soft dawn glowing on the horizon – welcoming those newly here, and waving warmly to those in the hereafter

2LP Gatefold release of the celebrated Amapiano Now compilation from NTS. Showcasing some of the most notable South African artists from the centre of the scene, from DBN Gogo to Vigro Deep, Mr JazziQ to Kamo Mphela. Whether lengthy hypnotic instrumentals with jazz indebted key solos or rugged township productions, Amapiano Now is a celebration of this essential sound and a document of the evolution of post-apartheid club sonics. Curated by Shannen SP & Joe Cotch, with NTS.

Rising Sun marks his return to Freund der Familie with a release of a double 12-inch album delivering 8 reinterpretations of the recent albums "Alfa" and "Omega" including unwavering dub techno, deep house and ambient electronics.

We are proud to announce a new edition of Door Open at 8 AM, Masami Akita's powerful masterpiece of melted jazz/noise, on red colored vinyl. This will be a limited edition of 300 copies Worldwide. Regarded as one of Masami’s best work, Door Open at 8 AM combines the harsh noise world into a jazz sample driven world, creating a blueprint of what experimental compositions could achieve.

A beautiful and distorted dream of drum samples, jazz, swing, noise and bliss by Harsh Noise giant, Masami Akita (Merzbow), remastered for the first time since its original release in 2002. To celebrate the 20th anniversary of this incredible albu we are doing a limited second edition, gatefold, vinyl pressing on white/ pink colored vinyl limited to 300 copies worldwide. It includes updated artwork by the artist. Consider by many a landmark album and a turning point in Merzbow’s discography, Merzbeat serves as a powerful introduction to the world of experimental music.

An entropic vortex of full-room tear-up texture. Duo lineup of Charlie Mumma and John Wiese. Originally released in 2018 on Lp/cs, this crucial CD reissue brings back into a print a pinnacle of modern, harsh musique concrète - with nearly 15 minutes of bonus material!

Deepart, vétéran de la Techno bizarre Londonienne des années 90 et l’artiste inaugural du label Rush Hour, rencontra Remer Cier, debutant sur Youth, à Plastic People, lors de la soirée séminale CDR, un set improvisé de nouvelle musique électronique. Après presque 20 ans de dialogue erudite, de performances et expositions au Chelsea College of Art et au Royal College of Art, nous présentons leur collection d’improvisations afrofuturistes, enregistrée au Beaconsfield Gallery, Vauxhall, Londres en 2021.

Dédié à Søren Holm et tous amis absents

Merci à Joviale, collaboratice au dessin

Haku Sungho is a Korean-Japanese musician and artist, from Tokyo, who lives and works in Berlin. In addition to his work as a musician, he uses conceptual methods to create his own instruments and to develop his video and installation works.
A developing circle, pinwheeling, restarts at every rotation before completing the circle. The circle does not close, but indicates the shape it seeks to finish. Each time, it seems nearer to closing, and the patience maintains. Still, no circle closes, in each rotation. Anxiety develops with the inability to resolve the shape, but the shape turns, a graph develops, two circles pinwheel, unable to close, but overlap now. One circle, pausing, casts a straight to indicate the radius, and stops, still one moves above the other, now clarifying. A message is buried in the charts and figures, an odious one. "I am breathing. You, too, are breathing. We are breathing. The subtle scent of us both breathing." Spelled out now, the circle never completes, just makes a letter in a message and makes difficult the reading.

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