Coming Soon - 2026 Cassette Batch #3
Elia Piana
ianua
ianua takes its name from the Latin word for “door,” drawing inspiration from the symbolism of Janus—the two-faced deity of beginnings, endings, and transitions. Conceived as a cyclical work where the end folds back into the beginning, the album is built entirely from guitar sounds, transformed through a Plumbutter and recorded to tape.
Changes in tape speed and playback irregularities introduce subtle imperfections and shifting variations, allowing the loops to evolve gradually over time. Songs designed to be listened to at low volume, at dusk.
Jeff Silva & Mike Bullock
Plumes
Plumes emerges from a long-term sonic and ethnographic exploration of the Étang de Berre, a coastal lagoon near Marseille, France shaped by industrial pollution and ecological disruption. Recorded between 2021 and 2024, the album captures fragile entanglements between human activity and more-than-human life. Using hydrophones, ultrasonic detectors, and parabolic microphones, Bullock and Silva probe the lagoon's submerged acoustics, bat echolocations, and the overlapping signals of industry and wildlife. Rather than documenting from a distance, Plumes listens closely to a damaged landscape. It invites us to hear what contamination, survival, and resilience sound like, and proposes listening as a way to inhabit the complexity of a territory in flux.
Yoichi Kamimura
Sonavira
Created from field recordings gathered during a 2023 residency in the Brazilian Amazon, Sonavira explores the intersection of ecology, culture, and sound. Captured in the rainforest, along the Amazon River, and near the Balbina Dam, these recordings reveal a dense sonic environment where wildlife, indigenous presence, and the sounds of modern infrastructure coexist in uneasy harmony.
Its title combines Latin and Romance-language roots associated with sound, life, growth, and transformation, reflecting a view of sound as a living force—one that circulates through, responds to, and is shaped by its environment.
New Releases
Wesely / Cocks / Ángeles / St. Louis / Costa
A Fine Chance for Permanence
Each generation of improvisors gathers itself—naturally and consistently—in the act of rewriting the poetry of spontaneous music. The need to group words/sounds/images in an order that feels honest to lived experience is innate in all creative humans, and the history of musicians collectively building new musical syntax ranges from jazz freeing itself from the song form in the 1960s to the reliance on silence during the reductionist or lowercase movements of the last twenty years.
With easier access to recordings, writings, and discussion, the question of how today’s cohort can keep themselves from splintering off into thousands of unconnected vocabularies is a real one. The promise of a globally connected community has proven, so far, to be moving toward alienation. It is heartening to see, then, that today’s improvisers seem to be using the digital glut of information to create a shared music of différance, or a “both/and” kind of thinking that defies a concretized ideological performance practice), rather than choosing to disperse into multiple, evolutionarily barricaded languages.
A Fine Chance for Permanence may become a historical document of this new movement’s embrace of the internet age and its possibilities. The music here spreads itself out like a data set rather than unfolding into a linear narrative. It builds upon the creation and dissolution of multiple relationships within an ever-shifting sense of time rather than a virtuosic reproduction of hanging images within a set of aesthetic rules. Asymmetrical pulses replace rhythms; frequencies and sighs supplant pitches; floating timbres are substituted for strict counterpoint. But while the improvisations on this record dance around the aurorae of music’s building blocks, they are not afraid to grasp at the concrete—the historical as the expected—as a source material for new music. A Fine Chance is a conscious deconstruction of what we mean when we mean music; it is a single cycle of music differánce frozen in time.
– Nate Wooley
(an excerpt from the full liner notes)
2026 Batch #2
A deliberately curated bundle of cassettes from five artists whose work challenges convention and pushes boundaries. Each approaches their instrument as something fluid – at times reshaping its identity, drawing out unfamiliar textures, and uncovering new sonic possibilities. Every tape captures a distinct voice and creative vision, coming together as a collection that celebrates authenticity and inspiration.
The cover art, created by Hiroyuki Murakami, threads the five releases together through a shared visual language. Though each tape exists independently, they are ultimately part of a larger whole – conceived as a unified set and will not be sold individually in physical form.
Drew Wesely
Silence is a Sharpened Blade
Silence is a Sharpened Blade speaks in the language of materiality — a stripped bare mantra of nylon and wood conjures unspoken and veiled interiors, channeling the intimacy of a single guitar alone in a room. Silence is a mirror, a shadow, an absence. It speaks when words fail in the poetry of negative numbers. Where do we go when the lights burn out? What is beauty in hell? What can pierce a heart of stone? Silence is a teacher, a doorway, a paradox. Silence is a sharpened blade.
Camilo Ángeles
Flautas Ahogadas para Jacobo Grinberg
Flutes and electronics trace the cartography of a mind erased, a telepathic homage, a breath, an oscillation between different realities, silence, vacuum, all amplifies what empire could not afford to let be known.
Laura Cocks
A Pearl in the Jaw
A Pearl in the Jaw is a prayer in the physical process of release and return—a collapsable space between intimacy, introversion, and internal worlds and what utterances become boiled down to purity as we shrink ourselves. Our own kernels of truth, sharpened and shined as we hold onto ourselves in periods or spaces of friction. The nacre offers calming, glowing warmth, and also refractive possibilities endless in scope. Structures that interfere both constructively and destructively with light: to speak pearl is to ask for water. To speak pearl is to understand interwoven scales of time, to pull lace through milk, to chew on interference.
Lester St. Louis
THE END SITE
THE END IS NOT IN SIGHT
THE END IS NOT SIGHT
THE END IS NOT
THE END IS SIGHT
THE END SITE
Compositions for cello, electronics, EMF and feedback
Carlo Costa
Ashes
Ashes consists of 8 concise pieces, each developed on specific setups, with a particular combination of instruments and objects. Each track acts as its own sonic microcosm, where a few distinct sounds and textures are explored and intimately captured. The title comes from Zen master Dōgen Zenji's metaphor for being fully present, burning through thoughts like a hot fire where no traces are left after, only ashes.
+ SOUND AS AN ART FORM +
UPCOMING RELEASES:
+ Drew Wesely
+ Camilo Angeles
+ Laura Cocks
+ Lester St. Louis
+ Carlo Costa
+ Elia Piana
+ Jeff Silva & Mike Bullock
+ Yoichi Kamimura
+ Sarah Hennies
+ Morgan Evans-Weiler & Carlo Costa
+ Engel / Thomsen / Bennett
+ The Ghost
+ Luigi Marino
+ Bryce Hackford, Ka Baird & Kevin Ramsay
+ Burkhard Beins & Alfredo Costa Monteiro
+ Chris Cogburn, Valerio Tricoli & Marco Abert
DISTRIBUTION:
+ Tobira Records (JP)
+ Scream & Writhe (CA)
+ Cafe Oto (UK)
+ Soundohm (IT)
+ Skeleton Dust (US)
+ Ergot Records (US)
+ DNT Records (US)
+ Discogs
INFO:
+ Digital downloads included
+ Est. 2016 / Los Angeles
+ Discography
DEMOS:
+ Appropriate demos welcome
Digital available on Bandcamp
