Six solo recordings from Aoi Tagami, Li Song and Xiang, three young chinese artists supported and mentored by Zhu Wenbo of Zoomin' Nights to highlight the thriving young experimental scene within China --- Li Song, a native of Xi'an, now living in London, uses his laptop to make improvised music and was active in Beijing's experimental/improvised music scene from 2014-2018. Tokyo-based Aoi Tagami explores songs through the use of her own voice and words. Since 2014 she has been giving performances in diverse locations, from outdoor settings to theatre spaces. Xiang, sound worker, working with field recordings, electronics, improvisation/composition of objects/body, performance based on aural exploration. She lives in Chengdu. --- Released: Zoomin' Night Released: October 2020 Mastered by Xiang Designed by Liu Lu

Anla Courtis: guitar, water, ebow S. Glass: voice, field recordings, tapes, objects, violin --- Recorded, mixed, and edited at Yaguareté Studios, Buenos Aires and at No Spray 205, San Francisco --- Ikusiuus, 2021

"Growing up means your mental models of the world are more likely to match observable results in the 'real world'. Or to say it differently: Growing up means, your plants are not dying anymore. I am not sure we have grown up quite yet, but maybe embarking on a 25 minute free form improvisation, with the tape rolling, relies just as much on what you know, as trusting the things you do not know yet. Just as much being in touch with the grown-up as the child in you and the partner that joins you on that journey." Daniel Stolle and Erno Taipale met in 2017 at an exhibition of old houses in Hämeenkyrö, Finland. Having similar thoughts about making music they decided to play together. Eventually it happened in autumn of 2020. Two sessions at Daniel's working room produced these improvisations. Opal Satellite's music is mostly calm and sparse, at times creepy, pastoral, kosmisch. It could work as a suitable soundtrack for a breezy summer night when the mist floats upon the moonlit lake surface. Or maybe it conjures your very own images, based on the observable world of the grown up or the free, imaginery of the child. --- Ikusiuus, 2021

Co-released with Unread Records (USA). #272  --- Recorded mostly with Korg Minilogue XD in September-October 2020. S ome additions & mixing & cassette mastering November 2020 - February 2021, Digital version mastering July 2021. Music & artwork by Jani Hirvonen. inspiration: Quantum physics, universe, cosmic vibrations / dimensions / frequencies, spirituality, the unknown... --- Ikusiuus, 2021

The Anaksimandros: Janne Laurila, Jan Anderzen, Markus Mäki, Arttu Partinen, Kevin Regan. Limited edition of 80 copies * Including a hidden bonus track, which wasn't on the original cassette release. Originally released on Huutomerkki in 2000. --- Sleeve artwork and layout by Johannes Schebler --- Ikuisuus, 2021

Alexandra Spence and MP Hopkins are sound makers living and working on Gadigal land in Sydney, Australia. Using foil, flutes, tuning forks, tones, tapes, tiny bananas, stones, mouths + more, their work explores the spatial and sculptural elements of a practice in experimental sound. Their debut release, The Divine For Me Is Whatever Is Real, was recorded on the cusp of Spring one evening in 2020, at Tempe Jets; a disused sports club hall in Sydney. During this session, a stationary pair of room microphones were encircled by tables of objects, speakers, instruments, and actions. Additionally, Spence and Hopkins shared a pair of in-ear binaural microphones that they roamed the room with, taking turns to inspect up close, and from afar, each other’s sonic activity. The result is a document that moves through states of amorphous sonic density, rattle and clunk, magnetic drift, and instrumental sounds both trill and tentative. The album’s title is borrowed from Clarice Lispector’s The Passion According to G.H.

Brandstifter: field recordings, voice mails, sound poetry snippets, German and English poems, streams of consciousness and ad hoc philosophy, Casio tunes and loops all from dictaphone Diurnal Burdens: homemade twin walkman tape looper, dictaphone, mobile phone field recordings, multi track loop pedal, modular synth, evil moisture chopper/masher, effects pedals --- Collages by Ross Scott-Buccleuch & Brandstifter Master by Moras Marios Released More Mars, 2021

Italian sound artist Ezio Piermattei is an active musician since 2010, releasing works under different aliases like Autopugno, Hum Of Gnats, Poisucevamachenille. In 2014 he started releasing music under his real name, through labels like Chocolate Monk, My Dance The Skull, Steep Gloss and through his own Tutore Burlato label. His "From Afar It Looks Like An Oriflamme" captures some of the most delicate compositions by him. Detailed narratives are mixed with a big variety of field recordings, object and instrument sounds, as well as tapes. Ezio Piermattei delivers us two long compositions, with a cinematic point of view, humour and sound detail. --- "From Afar It Looks Like An Oriflamme" released on 80 numbered cassettes. Artwork by Agata Mastered by Moras Marios.

Jim Strong is a visual artist, painter, performer & experimental instrument builder. Until now his music is released on respectful labels like Vitrine and Crisis Of Taste. He is the one half of Melkings, a collaborative group with T.D. & founder of the experimental label Cor Ardens. im Strong’s music is characterised by a structural complexity, combining amorphous instrumentation and spoken words. His handcrafted instruments, that looks more like artifacts or sculptures, reproduce a big variety of cracking noises, broken electronics & drone sound effects. The outcome is a poetic mix, consist of free improvisation, crank-based mechanisms and sound poetry. Voluntary Letters are probably his most exciting work by Jim until now. This release includes eleven tracks, who successively structure an interior mystery play between paraphernalia & human soul --- More Mars, 2021

Human Heads are an electro-pop sprechgesang duo from Glasgow. Human Heads deliver a whopping sensory twofer; a vial of fragrant oil for your proboscis and six doses of throbbing-synth-extrusions and poetry-speak-sung for your inky flappers. On listening, it’s the overall heaviness what mugs you first – narrative and synthetic. ‘You shouldn’t have met’ is a slice of crafty street recording, school kids on the blab rapping on death, that’s soon dive-bombing deeply like Sabbath picked up a couple of Korg SB-100’s rather than them dirty guitars. As the tracks unspool we follow stories (possibly reflections, possibly prophecies) on the full-body foxtrot and crucifixion. Pixelated piano is preceded by the delighted squeaking of a small child, a train’s rhythmic rattle and Scott Joplin’s entertaining hands. R.D. Laing is in a nostalgic mood so things end with the sort of dry-rot clunk Kanye would have chipped a tooth for on his self-titled Yeezus opus. --- Ben Ellul-KnightHannah Ellul --- They reverberate,they also absorb dregsthat came from our teenage diversionsCold and stony, the rubbery shadowBrought to lifeWith a whiff of a dank man-made holeAnd now a brightnessFeels higher and more determinedFuller now, gathering to block out extraneous letters, sightsMy own fingers trawling and trailinglips overstretchedRid the flavours from the mouthA narrative fading - goodMetallic churning // reaching out,receding again and overlaid with a negative etchingTryingA breathing cogNot circular but returning// familiar but not minea sweet spot between nape, pit, popper, pear //TryingA breathing cogNot circular but returningDo it with your eyes closedForA sweet spot between now, then, the rear of a dreamTrapped Doppler,Metal is cooling, becomes corkyLips overstretched, adjective snatchedSucked and blownTo reach equilibrium //Thinly domestic nowA drawn out teeter I can no longer perceiveBut it came from somewhere massive and hardA slow shock// A pattern cut from a metal sheetand now it’s on the movelays itself down over spoken undulationsuntil they form a new pattern, called a beat //received, pressing, driving,old and flammablesneaked up from within a refrigerated boxanother slow, pleasant shockThickly domestic now as we sinkSurvey the scatterManipulate the jointTiny and early, the echo ate its tailRebecca Wilcox --- Fractal Meat Cuts, 2021

Heavyweight Tag-Team split tape from Outclub and DT Dream. Embodying the adrenaline of challenging for the Princess of Princess Title and the comedown of losing. Zoned out beats drowning with tears and exhaustion. Gltichy Idol music through the ambience of a Joshi locker-room. --- First relase from Manchester label Profound Mystery ---Released May, 2021 ---

Crystalline music miniatures composed using numerological games and abstract metronomes. “The basis for Cavaliere’s music is derived from the prowess of his imagination, which at a young age was stimulated by a gift, given to him by his grandma. “At a very young age, my grandmother, who was a music teacher, gave to me a cassette record player. And as I was an only-child, I would sit in my room alone, and have conversations with the record player and my pre recorded voice. I communicated with it.” (Spencer Clark) --- Recorded between Berlin and Bruxelles March - April - May 2020 --- Self Released, 2020

Since the birth of this nation, our leaders have recognized the value of a civil service merit system to the orderly administration of our country's day-to-day affairs. During his Presidency, George Washington set high standards for federal government service based upon the individual's qualifications for the position sought. This concept was eroded in subsequent administrations by preference for veterans, geographical distribution of appointments, and reliance on Congressional recommendations. Culminating in Andrew Jackson's administration the use of patronage and the building of political machines led to low morale, indifferent service and payment for jobs." The excesses of the "spoils" system eventually led to public demand for reform. In 1851, Congress passed a resolution requesting Cabinet officers to draw up a plan for the classification of their subordinates, to equalize salaries and to provide for "'a fair and impartial examination of the qualifications of clerks and for promoting them from one grade to another'. Subsequently, in 1853, Congress passed legislation which carried out those recommendations. At the state and local levels, the evils of the "spoils" system also led to pressure for reform. In 1877, New York be- came the first state to form a Civil Service Reform Association. That system served as a model for reform associations in other states, all dedicated to the regulation and improvement of civil service. Following the movement initiated by the federal and state governments, municipalities and counties began to incorporate civil service systems into their local governments. - Rea T Markin (1974) --- Regional Bears, March 2021

Ikuisuus presents Une Rose by Beyt Al Tapes. Layers of dark lightness. Airy sounds combined with a de-constructed organic weaving. A vanishing point in constant extension. --- Cassette, March 2021 Edition of 75 copies --- Ikuisuus Records

SDF - less a band more a corrupt construction company with synthesisers, hammering against the ruins of the night. SDF is a pulsating orb vibrating in oceanic hyper space. --- Alana is the third release in the Wild Pop Series ---Mastering by Joe at Subsequent Artwork by Cecelia Serafini Psykick Dancehall Recordings, 2017

Takashi Masubuchi (acoustic guitar) and Staytone (modular synthesizer) are musicians based in Tokyo. Both of them are new generation involvers in post onkyo Japanese improvisation music scene, active in Ftarri, Otooto, Permian and other small, quiet, warm spaces. Takashi Masubuchi is also one of Permian’s runner, which is specially focus on free improvisation music. This duo has deep collaboration for many years. 2527 are some selections from their 2018 recordings in Permian. --- Takashi Masubuchi - Acoustic Guitar Staytone - Synthesiser --- Recorded by Keita Asahi in May 2018 at Permian, Tokyo Edit and mastered by Keita Asahi Released: Zoomin' Night Released: March 23, 2020  

Bruno Duplant is a self-taught composer, phonographer, bassist, and altogether 21st century renaissance man from France. Like many others of his generation, he is a relentless audial explorer and documentarian, and over just the past few years has more releases in more genres and on more labels than one can reasonably keep track of. (This impulse to document may bleed over from the other side of his life as a library sciences teacher.) Unlike some of his peers, however, his releases are not just the product of obsessively recording live sessions. Instead, Duplant seems to have a more concerted program. Per his own testimony, even his field recording releases are thoughtfully composed. And, his electro-acoustic and pure acoustic compositions are meticulous and delicate soundscapes, feedback and frayed edges included. --- Composed by Bruno Duplant Recorded at "la salle de jeu" Waziers, France. Bruno Duplant: percussion and/with electronics --- Released: Zoomin' Night Released July 1, 2019 Photo by Bruno Duplant Art design by Liu Lu

Jikken Weekend, also known as Experimental Music Concert, is a small artist/composer group based in Tokyo. They mainly hold performance events at l-e, a small venue/art space in Osaka. Two CD compilations of their works have been released on the Taku Sugimoto’s label Slub Music, Experimental Music Concert (2015) and Experimental Music Concert Vol.2 (2017). Early on, many of the members of Jikken Weekend were participants of Sugimoto’s composition workshops. Aside from that, the members are almost unknown, even to Tokyo’s experimental music scene. In recent years, some of the original members have left, and some new names have joined in. It is said that some of their latest compositions are not suited to audio recording. So, this cassette can be seen as a chance to check in on Jikken Weekend’s recent work. Hirohiko Yamada, Toshihisa Hirano, Hisayo Kobayashi and Mamoru Nakajo are original members. Similar to their previous releases, each of them brings their own compositions in for recording, while they also contribute as musicians in other pieces. Besides these four, other musicians in the recording sessions include other members from Jikken Weekend, l-e buddies, and even some Korean mystery guys including Ryu Hankil and lo wie. One piece on this cassette was recorded in Seoul. --- A1, B1, and B2: Recorded at l-e, Tokyo, December 21, 2019 A2: Recorded at namsan/flat, Seoul, October 13, 2018  A1 combs Composed by Hirohiko Yamada  Mamoru Nakajo, Reiko Shioda and Hirohiko Yamada: Melodion A2 Don’t Look Away Composed by Toshihisa Hirano  Ryu Hankil, lo wie, Yijinkee, Inkyung Kim, Takuya Sakamoto, Mamoru Nakajo, Reiko Shioda and Guests: Humming Toshihisa Hirano: Conductor  B1 from the faucet Composed by Hisayo Kobayashi Hisayo Kobayashi: Water jug, LED light  B2 DJ (Digest Jockey) Reiko Shioda, Hirohiko Yamada, lo wie and Ryu Hankil: Speaking about 2019 news Toshihisa Hirano, Hisayo Kobayashi and Takuya Sakamoto: Reading about 2019 topics Mamoru Nakajo: Conductor  --- Released: Zoomin' Night Released: April 29, 2020 Recorded by Hirohiko Yamada and Toshihisa Hirano  Mastered by Toshihisa Hirano