One of the leading acts in the field of Arabian meditative ambient bass, featuring a hybrid fusion of Middle Eastern, Kuwaiti, and Persian traditions with modern electronics.
Centered around a title that means “an older man who’s a womanizer” (or a “back-alley tomcat”) in Kuwaiti Arabic, this release features four tracks that boldly interweave ...Read moreregional club music, traditional dance music, and a queer perspective. Featuring longtime friends Bobo Secret, Lama3an, and Gumar, the album weaves stories of humor, desire, gender, and performance—ranging from provocative spoken word to heartfelt anthems.
Centered on the musical cultures of Kuwait and the Gulf region, the EP spans multiple languages and dialects—from the Iranian-influenced 3eemi to Classical Arabic—celebrating musical traditions shared across borders. It’s a bewitching, humorous, and stimulating EP that bridges tradition and the club scene, as well as local languages and global electronic music.

Produced by Leon Mark, this release features percussionist and sculptor Joao Pais Filipe, who recorded as CZN alongside Valentina Magaletti, and is dedicated to acoustic sounds (This is the landmark first release from Orator, a label dedicated to works that either eliminate or minimize the use of electronic instruments, placing the exploratory soun ...Read more (Original Japanese text by COMPUMA)d composition of acoustic instruments front and center!!
Valentina Magaletti’s brilliant drumming and her approach to rhythm and texture, combined with Filipe’s deeply immersive soundscapes created through the performance and resonance of his handmade gongs and cymbals—crafted from copper, zinc, and nickel—result in a deeply immersive sonic world. Both “There’s A Clown In My History” and “That’s Magic!” are extended soundscapes running just under 15 minutes each. Please immerse yourself in them to your heart’s content. (Original Japanese text by COMPUMA)

Six tracks brimming with magical rhythms, dub, psychedelic, and spiritual energy. A vinyl release from 〈AD 93〉. We’ve got it in stock. (Original Japanese text by Saito)

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『Parisian label Latency presents "Without References / Cindy van Acker (Variations)", a new release by goat (JP) and Ricardo Villalobos.

For this project, Ricardo Villalobos reinterprets two tracks – "Orin" and "Factory" – originally composed by goat (JP) for choreographer and ...Read moreperformance artist Cindy van Acker’s dance piece "Without References".

The release follows Latency’s recent publication of Villalobos’ variation on percussionist Mohammad Reza Mortazavi’s "Swamp" (Latency, 2025), continuing the label’s exploration of reinterpretation and rhythmic dialogue.

Goat (JP), led by Osaka-based composer Koshiro Hino (YPY, Kakuhan, Boredoms, Mark Fell), is widely regarded as a leading force in contemporary minimalist composition. In “Without References/Cindy Van Acker”, goat (JP) transforms non-tonal rhythmic patterns into intricate, hypnotic structures with remarkable depth. In this new version, the group’s simultaneously tribal and futuristic sound is reshaped by Villalobos’ distinctive production style, which draws from both minimalist techno and Latin American rhythmic traditions.

Ricardo Villalobos is a pioneering figure in minimal techno, known for his hypnotic and deeply rhythmic approach to electronic music. Born in Chile and raised in Germany after his family fled Pinochet’s regime, Villalobos developed an early fascination with percussion, beginning to play congas and bongos at the age of eleven. This tactile engagement with rhythm continues to inform his production work today. Influenced by both Latin American folk traditions and the emerging house and techno scenes of late-1980s Europe, he began DJing and producing in the early 1990s and quickly gained cult status within global club culture.

Cindy van Acker’s dance piece "Without References" features scenography by visionary choreographer Romeo Castellucci. The stage environment evokes a space that shifts between a waiting room, a train station hall, and a mid-century installation. Eleven dancers interpret Van Acker’s precise yet fluid movements, interacting with goat (JP)’s percussive, stripped-down compositions to create a visceral and immersive performance.

The artwork features photographs by Magali Dougados from a staging of "Without References" at the Maison de la Culture de Seine-Saint-Denis.』

Around 1968, through a connection with James Seelight—who was working at the Columbia-Princeton Electronic Music Center, which was supporting his music production at the time—Alwyn Nicolays met Dr. Robert Moog around 1968 through a connection with James Seelight, who was working at the Columbia-Princeton Electronic Music Center and providing him wi ...Read more (Original Japanese text by COMPUMA)th support for his music production. Moog incorporated the advice he received from Alwyn Nicolais, which led to the completion of the first Moog synthesizer, as well as the later Synclavier (a synthesizer and sampler). featuring 21 dance tracks created under the theme of exploring percussive rhythms and new sounds, making full use of sampled word attacks, interesting sound effects, and various experimental “musique concrète”-style effects produced with a tape recorder. Death Is Not The End—a masterpiece. This is a limited-edition 2LP vinyl release. (Original Japanese text by COMPUMA)

A loop of joy that coexists with the cracks in noise and an unsettling atmosphere, created using vintage string instruments, keyboards, vocals, and field recordings. Ten tracks totaling approximately 30 minutes that lure you into a daydream with nostalgic and enigmatically beautiful sound fragments of unknown origin. The album is titled after a wom ...Read more (Original Japanese text by Adachi)an’s name, and its storytelling evokes universal narratives emerging from domestic scenes and personal memories. While artists such as The Caretaker, Gas, Elodie, Biosphere, and Angelo Badalamenti are often cited as influences, this is an irresistible album with its own unique charm. (Original Japanese text by Adachi)

Dedicated to the historic luxury hotel Gstaad Palace in Gstaad, Switzerland, this release bursts with the overwhelming aesthetic unique to Wolfgang Voigt (Wassermann), blending Alpine scenery with 4/4 techno, experimental, contemporary, minimalist, and psychedelic sounds, at 128 BPM, along with three elegant, hypnotic techno homages brimming with sophistication. (Original Japanese text by COMPUMA)

Spiritual dope worldview, like drifting forever through the galaxy, the deepest depths of deep trancey drone techno. New work by Danish master craftsman Sofus Forsberg. (Original Japanese text by COMPUMA)

A 23-minute-and-30-second-long piece featuring modulated, looping audio tape and electronic sounds from two oscillators that gradually transform, subtly and gently drawing the listener into a strangely captivating world where the storytelling captivates—a minimalist/dub experimental electronic soundscape. “Aber Was Ändert Das? (What Does That Chang ...Read more (Original Japanese text by COMPUMA)e?)” (sample1), sine waves generated by three function generators programmed to provide mutual feedback, and the four-part electro-acoustic series “Quantitative Unbestimmbarkeit 1&2&3&4,” created using self-generating patches, are all enveloped in a laid-back, mysteriously pleasant atmosphere. (Original Japanese text by COMPUMA)

A soundtrack album by Bear Bones, the solo project of Ernesto González—a Venezuelan psychedelic electronics prodigy who has released works under names such as 〈(K-RAA-K)³〉, 〈Ikuisuus〉, and 〈No 'Label'〉, and is highly regarded in Japan’s underground scene— Lay Low, and Belgian sound designer Laszlo Umbreit—who has also appeared on labels such as 〈Su ...Read more (Original Japanese text by Adachi)b Rosa〉 and 〈Futura Resistenza〉—collaborated on this film soundtrack. Bear Bones, Lay Low modulates and amplifies Laszlo Umbreit’s source material—field recordings of flowing water, riverbeds, and sounds hidden in natural spaces, enhanced with electronic sounds—using synthesizers, samplers, effects, and tape loops. A unique contrast emerges as raw, visceral sounds of nature transform into unsettling drones and mesmerizing repetitions. A quietly dynamic electro-acoustic soundscape that evokes the sensation of wandering into an unknown ecosystem. (Original Japanese text by Adachi)

Mike Cooper, an 84-year-old “post-everything” sound explorer, met illustrator and author Charles van Sandwyk by chance on a small island in Fiji in the early 1990s. This work was inspired by the illustration collection *The Dream Island of Birds*—born from vivid dreams van Sandwyk had while recovering from a serious car accident—and the accompanyin ...Read more (Original Japanese text by Adachi)g signed postcard (which is reportedly still displayed in Cooper’s studio). Based on bird calls recorded during a one-month artist-in-residence program in 2012 on Pulau Ubin, located between Singapore and Malaysia, the sounds were reconstructed using electronics and digital processing. While the titles of each track reference the names of striking birds native to the island, they do not necessarily replicate the birds’ actual calls; the album also includes tracks that depict imaginary birds using only electronic sounds, without any recordings of live birds. With seven tracks in total, this album takes you to the deep zone of a tropical island where reality and fantasy intertwine. (Original Japanese text by Adachi)

Since De Leon from Gamelan Experimental (a hit at our store, too) is involved, this should really resonate with anyone with a keen ear for that kind of music. It’s actually a project by Izaak Schlossman—one half of Loveshadow, who’s also released music on Music from Memory, and a photographer. I see—perhaps that explains why it feels somewhat cinem ...Read more (Original Japanese text by Shhhhh)atic and has such a unique vibe.
It’s experimental, yet there’s a certain airiness to it. While it’s also an ambient work, it doesn’t veer into the trippy or gimmicky; rather, it exudes a neutral charm that truly feels like watching a film. Even when it feels hallucinatory, there’s a sense of reassurance. It’s pricey, but irresistible—we’re expecting a limited stock. Give it a try. (Original Japanese text by Shhhhh)

LEO GIBBON—whose mixtape blending Safaraz Rock and Yardlovers was a hit at our store—has dropped a new release on his own label, *MUDLINE*! Featuring six tracks—starting with “Harkens” (sample 1), where sluggish downtempo dub, sweet keyboards, and screwed vocals melt together—this release makes full use of sampling, processing, and irregular loops ...Read more (Original Japanese text by Akie)to create a mysterious atmosphere! Also worth noting is “Chapel North” (sample 3), featuring the prominent MC work of JAMES MASSIAH—known for his work as DJ ESCROW with DEAN BLUNT’s BABYFATHER and for his contributions to MASSIVE ATTACK’s projects—which stands out for its unique contrast. (Original Japanese text by Akie)

Born in Austria, Adelhard Roidinger is known not only for his frequent collaborations as a double bassist with Western jazz giants such as Anthony Braxton and Karl Berger, but also for his academic work in fields such as computer music, graphics, and cybernetic design. A leading figure in the Austrian music scene, his activities have spanned a wide ...Read more (Original Japanese text by KANO) range, including participation in Ars Electronica and teaching positions at Graz University of Technology and the Bruckner Conservatory.
Featuring “Kontrabad”—a signature track that perfectly embodies the concept of “unleashing the artist’s creativity with the aid of machines”—from the masterpiece album *Computer & Jazz Project I*, this single features the track on Side A. The track features a barrage of percussion unfolding amidst the undulating waves of beautiful arpeggio synths, along with Roidinger’s astonishing bass playing! Since the original is hard to come by and the sound quality is excellent, this is definitely a track you’ll want to hear on a club sound system. Side B1 features an extended mix by Joe Claussell. With subtle arrangements—such as newly added drum fills and a bass line brought more to the forefront—this is a superb edit that enhances the original’s strengths! Side B2 features “Kreisform,” also from the same album. This track also features spine-tingling synth work that makes full use of the Juno-106 and Roland SH-101—a masterpiece of electronic jazz. A limited-edition 12-inch release on clear vinyl. (Original Japanese text by KANO)

This album, which many people voted as the best album of 2020, has arrived in stock following a reissue. It features contributions from Brooklyn’s Twin Shadow; grime artist Lil Silva, who releases on Night Slugs; the unique Black female guitarist Melanie Faye; and Mr. Mitch, known for his releases on Planet Mu. Perhaps because he’s someone whose ba ...Read more (Original Japanese text by Shhhhh)ckground extends beyond music to include a fashion brand, photography, and even children’s picture books, his sound design is uniquely solitary—truly ahead of its time. His sampling ideas, in particular, feel like they come from somewhere outside the mainstream. He’s apparently famous for being sampled by Solange, and whether it’s Kendrick Lamar or Solange, that sense of transcendence—being connected to the mainstream yet standing apart—reminds me of John Carroll Kirby. Personally, this unpredictability makes me nostalgic for the days of Shasol. His latest release, “Meeting with a Judas Tree,” featuring Yu Su—which I posted earlier—was well-received, but the more I listen to this one, the more I realize it’s an absolutely mind-blowing piece of work. It’s incredible. (Original Japanese text by Shhhhh)

BPM120, sci-fi electronica featuring her own violin, flute and vocals, reminiscent of early Herbert style, beautiful deep tech house A1 "Upside Down" (sample1) with unique melodies and vocals that are also captivating. (sample1), A2 "Eyes Between Letters" (sample2), a soundscape groove to hypnotic psychedelic druggy and electronic Afro-Brazilian am ...Read more (Original Japanese text by COMPUMA)bient deep house at BPM122, which fully demonstrates her signature style, B1 "Beyond Light And Shade", BPM125, an organic groove masterpiece of oriental environmental music contemporary minimalism that is electronic percussive and spacey acoustic electro-tech on the floor, BPM123, the highlight of this release and a very 4 tracks of organic organic soft psychedelic minimal deep house B2 "Complementary Senses" (sample3) with her typical experimentation and playfulness. Be sure to check them out from the track listing. (Original Japanese text by COMPUMA)

An album recorded by goat featuring the score I composed on commission for “Without References,” a performance by Swiss contemporary dance choreographer Cindy Van Acker, who is also known for her work with Romeo Castellucci, a global master of the theater world. Released on vinyl by 〈Latency〉. It features intricate, irregular rhythms and a tight ye ...Read more (Original Japanese text by Saito)t vibrant dynamism. It feels as though goat’s band ensemble has entered a new phase. Highly recommended. (Original Japanese text by Saito)

Floor-Minded Tunnel Track 2: “diese fragile Praesenz (Voltmar Version)” (sample 2), an 8-minute-40-second deep techno remix by Anthony Linell featuring minimal PM electronic signals 3 “diese fragile Praesenz (Anthony Linell PM Remix)” (sample 3), and the equally excellent, ambient-style trip remix 8, “diese fragile Praesenz (Anthony Linell AM Remix ...Read more (Original Japanese text by COMPUMA)),” featuring electronic signal minimal AM—both are wonderful offerings. Remix 4 by Black Merlin, “diese fragile Praesenz (Black Merlin Remix),” and CV313’s 14 minutes and 12 seconds long, gentle, meditative psychedelic remix, Part 1 “diese fragile Praesenz (CV313 Gravitational Pull)” and its 13-minute-and-9-second dub remix, “diese fragile Praesenz (CV313 Dimensional Dub),” are also absolutely fantastic, drawing you deep into a phantasmal realm. Illusion. Remix No. 6, “diese fragile Praesenz (Die Wilde Jagd Remix),” by Die Wilde Jagd—a beatless, drone-based, psychedelic, monotone remix—is, my goodness, incredible. It’s so thorough. Great!!! (Original Japanese text by COMPUMA)

I was surprised that these two would actually collaborate, but it turned out to be the cosmic session I’d hoped for. Only the fourth track remains a pure duet; in the rest, the sounds of gongs, drums, vocals, wind instruments, and strings interweave freely and randomly.
It’s piano music with a unique sense of space and emotion—unlike ambient me ...Read more (Original Japanese text by Shhhhh)ditation and more akin to a visual artwork. My impression changes every time I listen to it.
As ambient piano music with hints of UK soul and R&B, Duval Timothy feels quite compatible with The Vernon Spring.

It was raining on the day of their first session. It also seems to have been raining while they were creating the music—both at Duval Timothy’s home in London and at Carlos Niño’s home in Topanga, West LA—which is where the title “rain music” comes from.
Duval Timothy’s talent allows him to engage on equal footing with key figures in ambient and West Coast culture, such as Lala Raji and Nate Marcelo (sample 2), whose related works are also generating buzz. Featuring Navy Blue, a poet, skater, and visual artist. Finally available to the general public. (Original Japanese text by Shhhhh)