Ian Douglas-Moore is an American musician based in New York City. He uses guitar, electronic tones, and field recordings to examine the textures of layered resonant sounds as they engage with acoustic space. Dominic Coles and Eric Wong now based in Berlin. Dominic Coles’s work investigates the interactions of place, personhood, and power as they are articulated in sound, attempting to complicate and intervene in these categories through specific acts of technologically mediated listening. He runs 'Party Perfect!!!' with Hunter Brown. Eric Wong is both a guitarist and electronic musician. As an electronic musician, he focuses on utilizing smartphones and Bluetooth speakers for his compositions and performances. He has released 'Dzan-puku' (Aloe-004) with Seiji Morimoto on Aloe Records.Aloes' trio/group series is excited to present its debut album 'under under hill': An exquisite collection explores resonance and psychoacoustic experiences, achieving remarkable harmony through the interplay of prepared electric guitar, digital signals from laptop, and Bluetooth speakers within the space. Each track carries a distinct fragrance—long-lasting, crisp, and refreshing, with a hint of lightness and sweetness.

Zhu Wenbo is a multi-instrumentalist and composer who is dedicated to "music that doesn't sound like music", and he has released 'Four Lines and Improvisation' (Alone-001) and 'Jyunishi 十二支' (Aloe-003) on Aloe Records. Fat City was a band that contains elements of lo-fi, krautrock, noise rock, etc., it is one of the representatives of Beijing D-22 underground rock memories. Years later, during a performance at the Xiaozu Works, Zhu Wenbo somehow decided to cut and read the lyrics while the four-track recorder slowly spun. The collage style seems to have shades of William S. Burroughs and David Lynch."Fat City is my first band. Ma Meng and I started rehearsal in late 2008, and we stopped activities at the beginning of 2013. At that time we really wrote a bunch of songs. Thanks to some suitable opportunities, I decided to do a special performance at Xiaozu Works on November 1st, 2024, using the lyrics of Fat City as performing materials. I printed all these lyrics on paper, and during the performance I cut them into fragments and picked them randomly and read. The process lasted long time, meanwhile I used a four-track cassette recorder recording and playing back. Forward, reverse, fast and slow. Twenty four lyrics in total. This is all the lyrics I can find, but there are still some forgotten. Now these songs sound like the same song. They have always been like this. " - Zhu Wenbo

Li Song is a London-based musician and computer programmer. He performs improvised music with his computer and composes music using electronics and acoustic instruments. Luciano Maggiore is a Palermo-born, London-based musician whose work is characterised by the use of speakers and several analogue/digital devices (samplers, CD players, walkmans, tape recorders) as well as acoustic objects and addresses the performativity of the musical act, the perception of it, and the obscurity that emanates from it. His main interests include mechanisms of sound diffusion, performance, repetition, endurance, non-human animal languages, dance, and folklore.This album was recorded beneath the railway arches and across the marshes of Walthamstow, London. It captures the subtle interplay between portable electronics and the rhythmic pulse of passing trains. Rather than erasing the urban environment, the artists added white noise to create a unified sonic landscape. The result is a semi-composed, semi-improvised exploration born from the interweaving arches of environmental factors and human dialogue—a piece of music that eschews self-awareness in favour of a supernatural imbalance.The work functions as a collaboration between Li's "no-performance" practice and Maggiore’s fascination with repetition and endurance. A creation of time in which the boundaries between performer, device, and environment finally dissolve.

Zhao Cong is an experimental musician based in Beijing. She uses a variety of everyday objects, amplified by pickups from varies microphones, to bring out unfamiliar and heterogeneous sounds. She has released solo album '55355' (Alone-004) on Aloe Records in 2023. Kevin Corcoran, based in San Francisco, is a percussionist and sound artist whose work engages with sonic material across a multiplicity of domains, using a variety of approaches such as improvised performance, field recordings and sound installations.'-1 outside / 24 inside' was recorded after the duo's performance at Aloe on-site #20. The two tracks were captured separately: one evening in an underground pass-way, and another during daytime in a studio. Both locations are venues in Beijing that consistently hold experimental music concerts. Resonating with the album title on both metaphorical and geographical levels. With their playing, you can hear the touch of the musicians' hand, hear the variations between amplified and un-amplified objects, and how sounds change in different spaces.

Yan Jun is a Beijing-based musician and poet. He previously released 'it works' (Alone-002) on Aloe Records, and his creative materials range from electronic feedback to plastic bags. He is also an experienced vocal performer. In recent years, there has been a significant change in his vocal performances, with his vocal cords vibrating like feedback — or perhaps one could say that they resemble the voice of a 'human object'. Ryu Hankil is a computer musician, improviser and writer based in Seoul. His work revolves around sound writing and sonic fiction. His exploration of how an object's inherent vibrations can constitute a musical context has led him to realise that sonic thinking has the power to create diverse forms of fiction.This album was recorded in Shanghai in 2024 and completed in Beijing in 2025. The Shanghai recordings are imbued with an eerie sense of multiple spaces compressed into a single moment in time: This includes Yan Jun's vocals echoing within a small room, fictional narratives and reverberations within Ryu Hankil's Max/MSP patch ⑥, and a cacophony of outdoor street sounds interspersed with MAI mai's occasional guitar practice. Later, before their concert in Beijing, they spent a few days at Mount Changbai. During this time, a shift in their collaboration became palpable, with the woody sounds emanating from Ryu Hankil's ⑧ and Yan Jun's shaman-like voice returning to a kind of primal ritual.While this is not a professional studio album, it is a unique, unpolished work presented in its raw form.

Artistry was Sirone's first album as a leader, recorded in 1978, just after the split of the Revolutionary Ensemble. Artistry has an Atypical combination of instruments, bass, cello , flute and percussion and delivers aplenty. Listen and you will know. Sirone ( Norris Jones) had an enormously prolific career as a bassist, both as a member of the Revolutionary Ensemble and playing with many of the best musicians of the 20th century - from Pharoah Sanders, Albert Ayler, John Coltrane, Gato Barbieri, Noah Howard, William Parker, Cecil Taylor, Sun Ra, Sonny Sharrock,Marion Brown ... and the list goes on.

Francesca Ogbuachi is a Photographer, Writer, Storyteller and music maker from time to time, although she is unable to read music notes. She is Italian, born to Nigerian parents, and her way of speaking and saying things that she usually wouldn't be able to say is predominantly through Photography, Writing, Videography and playing the piano, which has been a very significant part of, not only her way of working ever since it came back in the picture, but especially of her life. Francesca’s work is all analogue choosing film over digital often using Super 8 for her film work and preferring hours on the dark room over sitting at s computer. One of her inspirations, if not my main one, is everyday people and their way of being unpredictable, which is the whole premise of my writing, and something that is also translating in what she plays, which still baffles her.

pre-order, arriving late december / early jan Amazing duo perfromance by Hamid Drake and Piano, recorded at the Shenzhen Jazz Festival in China, during late Cotober of 2019, issued by the always amazing Shenzhen based imprint Old Heaven.  Hamid Drake - 鼓 Drums / 打击乐 Percussion / 框鼓 Frame Drum / 人声 Vocals Pat Thomas - 钢琴 Piano 录制于第九届 OCT-LOFT 国际爵士音乐节，深圳 B10 现场，2019 年 10 月 20 日 Recorded at the 9th OCT-LOFT Jazz Festival, B10 Live, Shenzhen, October 20th, 2019

Pavel Eremeev: drums, electronics & feedbacks, mixing & mastering Artёm Galkin: guitars, bells, shankha, cover art Katya Shirshkova: harmonium on track 4 Wu Yilin: cassette design

A1、B3、B4为马木尔个人作品，B1是阿西木·东希（Əxim Dongxe ule）作曲，B5为塔塔尔民间乐曲改编，其余为哈萨克民间乐曲改编。 Track A1, B3 and B4 are original compositions by Mamer, track B1 is composed by Ashim Dongxeuly, track B5 is a Tatar traditional folk tune, the rest are based on Kazakh traditional folk tunes. “模仿者系列第六场：星空”现场录音，2024年6月19日录制于旧天堂书店。 Live recording from Mamer's solo performance 'The Imitator Series Ⅵ: Sky' on June 19, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅷ: Dirty' on June 25, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series Ⅺ: Fake Jazz' on July 3, 2024 at Old Heaven Books.

Live recording from Mamer's solo performance 'The Imitator Series V: Underground Factory' on June 18, 2024 at Old Heaven Books.

Les Disques Bongo Joe are pleased to announce the fourth album of La Tène ! Collaborating for the third time with the band, we're proud to release Ecorcha/Taillee, a two track project in between drone, folk, experimental and occitan music. La Tène’s long, hypnotic, wordless pieces are built from traditional folk instrumentation, wild percussion and blurred, subtle electronic embellishments, and feel as ancient and earthy as those millennia-old artefacts – with all the metal, wood, dedication and craftsmanship they entailed. As on their previous release Abandonnée / Maleja, a double set running to over 80 minutes, Cyril Bondi, Alexis Degrenier and Laurent Peter expand to seven members in total. Cohorts Jacques Puech (cabrette – a small bagpipe associated with the Auvergne region of France), Louis Jacques (cabrette and a larger, 23” bagpipe), Guilhem Lacroux (12-string guitar) and Jérémie Sauvage (bass) each return to add colour, layers and intrigue. Ecorcha/Taillée was recorded in a barn converted into a ballroom and cultural centre which exists to promote the folk music of region Auvergne. Both L’Ecorcha (eighteen and a half minutes long) and La Taillée (just under a quarter of an hour, brevity by this group’s standards) were recorded live and what you hear is a single take, with no editing after the fact. L’Ecorcha goes into space with simple, minimal tools. Beginning with a single, doomy chord circling in perpetuity and a metallic shaker by way of rhythm, a drone of unspecified provenance is joined a little under halfway through by Alexis’ hurdy-gurdy, adding bucolic buoyancy while Laurent uses the wooden surface of his harmonium as an extra percussive source. La Taillée is spikier, danceable even thanks thanks to Cyril’s insistent drumming and the harmonium and hurdy-gurdy moving in a glorious lockstep. If you were to think of the relationship between Lou Reed’s guitar and John Cale’s violin while taking in La Taillée, you wouldn’t be OTT by any means. nspirations, soundalikes and kindred spirits are elusive and fleeting in the case of La Tène. There are a couple specific to Ecorcha/Taillée, both brought to the table by Alexis : a Christian song titled La Passion, collected in 1883 by French folklorist Félix Arnaudin, and a reggaeton hit single from 2022, Saoko by Spanish star Rosalía. La Taillée adapts its crunchy central riff in La Tène’s own image. It’s that link between the past and the future that also rings out in the music of La Tène.  Alexis Degrenier : Amplified Hurdy-Gurdy - Vielle À Roue Amplifiée Cyril Bondi : Percussions - Percussions D’Incise : Indian Harmonium, Electronic, Percussions - Harmonium Indien, Electronique, Percussions Jacques Puech : Cabrette - Cabrette Louis Jacques : Cabrette, 23'' Bagpipe - Cabrette, Cornemuse 23'' Guilhem Lacroux: 12 Strings Guitar - Guitare 12 Cordes Jérémie Sauvage: Electric Bass - Basse Electrique

Orchestre Tout Puissant Marcel Duchamp’s latest album, “Ventre Unique”, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra’s ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music.Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet’s simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars.Ventre Unique is the group’s sixth album and follows their acclaimed 2021 release, “We’re Ok But We’re Lost Anyway”. While their previous work captured the disarray of the world during the pandemic, “Ventre Unique” reflects on shared human experiences, inviting listeners to find common ground through music.

"Side A, ‘Swinging’, is so titled because the musicians hang three drums from the ceiling and have them create noise – aqueous, haunted, tense – with proximate contact mics and feedbacking mini-speakers. Perhaps improbably, this piece has a rock-adjacent sense of abandon to it, which is less the case for flip track ‘Oscillating’, though intrigue is inherent to these waves of sine (which occasionally coalesce into something foley effect-worthy) and their effect on taut vellum." - The QuietusThe second release from the trio of Conal Blake, Regan Bowering and Li Song. Two Movements extends the ideas which underpinned their first outing, ‘Music for Snare Drums and Portable Speakers’ (Infant Tree, 2023), by incorporating motion in two distinct ways. The two sides, ’Swinging’ and ‘Oscillating’, were recorded live at Cafe OTO and Hundred Years Gallery, London.Recorded by @billy_steiger and @hbrownsoundMastered by Taku Unami

‘Harmonium II’ is the new album from London-based artist Zheng Hao. Across two side long pieces, she manipulates feedback into clumps of pure tone and interruptions of chirping, chirruping high frequencies. It follows her recent album for Krim Kram, "Breaks", and more directly, "Harmonium", released on Hard Return in 2022. With her duo, Oishi (alongside Ren Shang), she released "once upon a time there was a mountain" on Bezirk in 2023. As Hao explains, Harmonium II should not be viewed as a follow-up to the first Harmonium but a parallel exploration of the same ideas and themes: “’Harmonium’ refers to a type of balanced feedback, more specifically, a resonance,” she says. Where the first Harmonium involved controlling tones from a harmonica, no traditional acoustic instruments are present on this installment. Instead, Hao explores loops of recording devices and listening technology fed into a modular synth. On the first side, 'I', she turns a Zoom recorder – a tool used by field recordists to capture sound - into an instrument. Placing headphones close to the Zoom’s microphones, she tuned the feedback tones generated into sine waves from her modular synth. In a poetic twist, this approach creates an electronic world with the verdancy of a soundscape. Low, rumbling tones give the impression of an aircraft passing overhead. Squeaking high frequencies sound like voluble wildlife. Hypnotic pulses and beating tones emerge as her movements shift the system. Through recursion and gesture comes a tentative approximation of organic life. “I’m moving the headphones around so that it feels a bit like insects coming in and out,” Hao explains. “There’s also a low frequency feedback from the Zoom recorder itself, and I’m fading that feedback into a modular generated low sine wave as a transition, and then gradually fade the modular sound to a phantom rhythm. Then again and again.” For the second side Hao uses a reverb pedal and a mixing desk. Opening with a bed of stridulating bleeps and buzzes, human gestures can be heard in the system once more, gentle sweeps and waves eventually held in a suspended drone. Equilibrium arrives as humming tones bend, curve and fold into each other. It’s a more meditative piece than the first side, a bed of sounds that could be coarse and jarring frequencies coalesced into something utterly other, and utterly compelling. In Hao’s practice, conventional relations between performer and sound sources are twisted. Sound becomes malleable. Graspable without the obstructions and limitations of a conventional instrument or a DAW. Reference points for her music could be the visceral sound explorations of Maryanne Amacher, the haptic feedback sculpting of Rafael Torral, and the no-input mixing board experiments of Toshimaru Nakamura. It undoubtedly also chimes with the recent release on Bezirk by Regan Bowering. Although using different tools and reaching different outcomes, for both, signal paths are hacked and rearranged, feedback is embraced, and gestures are translated into sonic phenomena. Sounds that are typically discarded or avoided are held onto for their affective, textural and interactive possibilities. The unfamiliar sensations residing in unconventional sound sources are embraced. “Feedback- for me, is less about the sound output and more about enjoying the 'control' during the performance process,” Hao explains. “It’s like a tug-of-war between me and the feedback, listening very intently to the sounds in the speakers, my fingers tightly pressing on the mixer knobs cautiously to prevent any distortions. I enjoy the feeling of this back-and-forth and the vibrations that occur when feedback happens, which feels warm to me, or maybe it’s because I’m usually sweating when I’m playing with feedback…” Zheng Hao is a sound artist and experimental musician, born in Wuhan, China, currently based in London, United Kingdom. She is a member of the duos Oishi (with Ren Shang) and ecm (with Joseph Khan). Her solo works explore electronic and electro-acoustic instruments, including modular synthesis and feedback. She has released music on Otoroku, Falt, Molt Fluid, Krim Kram, and Research Laboratories.