29/05/2026
Hi, welcome to another newsletter for May - a couple cool releases arrived like the REIMAKI - 妖精の通る道 LP on An’Archives, ALYSSA - Medea! LP on Förlag for Fri Musik, SHADOW PATTERN - Live At Somewhere LP, PHILIPPE LAMIRAL POIRIER & ROMEO POIRIER - Images Parlées LP, OTOMO YOSHIHIDE'S NEW JAZZ ORCHESTRA - Out To Lunch DLP restock, CANCER HOUSE - The Moth LP restock, أحمد [AHMED] - Play Monk 2xCD, ROUDI VAGOU & LÄUTEN DER SEELE - Taghelle Nacht LP restock, ESG - ESG 12“, DON CHERRY & OKAY TEMIZ - Music For Turkish Theater 1970 LP restock, ESA WILLIAMS - Dala What We Must DLP, DJRUM restocks, MEMOTONE - Warm Shadows LP and more …
Our next instore will be on June 12th with TAVARE
The LIIEK LP is still delayed - but we got a few of the TAPE now in stock. We expect the Testpress now in MAY.
Robert & Norman
________
[email protected]
www.bisaufsmesser.com
https://www.discogs.com/user/XMESSERX
LP
ALYSSA - Medea! LP (discreet - *300 copies limited edition. Black sleeves with paste-on artwork and a postcard* Debut LP from a new Gothenburg duo consisting of Irma Krook (Makthaverskan) and Dan Johansson (Sewer Election). Alyssa takes elements from Irmas Military Arms 12" released a few years ago and combines it with the mind expanding synth stuff Dan has explored with the Psychic Panorama recordings recently. Adding a few larger-than-life piano bangers and whatnot, the result is a dreamy and mesmerizing night time album - think prime time 4AD on glue mixed up with your favorite Förlag För Fri Musik moments. Mastered by Linus at Elementstudion. Edition of 300 copies, black sleeves with paste-on artwork and a postcard. ) 27.00
BRUNHILD FERRARI / EIKO ISHIBASHI / JIM O'ROURKE - L'oreille Voleuse LP (On L’oreille Voleuse, Brunhild Ferrari opens her archive of “ear memories” to Eiko Ishibashi and Jim O’Rourke, who treat her magnetic-tape recollections as a living landscape, improvising a drifting, prismatic electroacoustic Hörspiel about time, listening, and theft as tender attention. L’oreille Voleuse begins with a refusal of voyeurism: “Without listening at doors, the ear captures noises here and there and unexpected sounds without choice, but remains attentive to the messages of each one picked up over the years.” In that simple declaration, Brunhild Ferrari sketches an ethics and a poetics of listening. The ear does not spy; it gathers. It lives in the open, porous to the world’s incidental acoustics, welcoming whatever arrives. These captured “surprises and impressions,” most of them fixed on magnetic tape across decades, become the raw matter of a new “mix tape” on which Eiko Ishibashi and Jim O’Rourke play - not as decorators, but as co-dreamers reanimating a memory theater of sound.) 34.00
CANCER HOUSE - The Moth LP ("A friend of mine told me he had visited the place that Cancer House live and record. He said they jammed together all afternoon. In the moment, in the zone so to speak, he became more and more convinced that what they were making together was the best music he had ever been involved with. As the afternoon drifted by, second by revelatory second, he began making grandiose plans to release the recording. By the time it was dark outside the windows he imagined it as a future lost classic, a key live document of a scene, a moment and an aesthetic. He thought about all the records he loved. He thought about the great, little known, statements of lo-fi, downer indie: dark, sweet, crawling guitar music by bands like Farewood, Bedhead, UN or The Sonora Pine. He could even picture the sleeve down to the last detail.) 30.00
ESA WILLIAMS - Dala What We Must DLP (Marking twenty years since South African producer and DJ Esa Williams left Cape Town, Dala What We Must is a deeply personal and expansive debut LP, an exploration of movement, memory, and sound shaped by two decades of creative evolution. Co-created with collaborator and multi-instrumentalist Robin G. Breeze, the album deftly combines field recordings, layered instrumentation, and emotionally resonant compositions into a nuanced, globally influenced body of work. It also stands as Esa’s most collaborative release to date, featuring contributions from musicians across London, Oaxaca, Nairobi, and Cape Town, each adding their own creative energy to a project built on openness, trust, and shared experience. ) 40.00
ESG - ESG 12“ (ESG is the debut EP by American band ESG. It was released by 99 Records in 1981. The EP received positive reviews from music critics. "Moody" became popular with house DJs, and "UFO" came to be one of the most sampled tracks in hip hop music.) 25.00
HANIA RANI - Sentimental Value OST LP (Recorded between the iconic Abbey Road and Polish Radio studios, Hania Rani’s original music for Joachim Trier’s Cannes and Golden Globe winning, Oscar and Bafta nominated ‘Sentimental Value’ is a deeply intuitive collaboration, composed before a single frame was edited.Intriguingly Hania worked on the score for Sentimental Value without an edit in hand; instead, she was given a carefully written script and the freedom of her own substantial imagination.The story told in the film oscillates around three characters and the motionless presence of the house, yet the relationships between all these personalities are not fixed, but in progress. Those subtle qualities were at the center of her attention and became the core topic of numerous discussions with Joachim about the music, the film, and the philosophy behind Sentimental Value.) 30.00
MEMOTONE - Warm Shadows LP (Multi-instrumentalist, producer & composer memotone (Will Yates) announces the release of his album Warm Shadows and a homecoming on Accidental Meetings. The record will arrive on May 15th and the album shows a glint of itself through the single ‘Round The Bend’ which features Jabu's guest. Warm Shadows sees Yates’ discography continuing to flourish and traverse into new territory once again, his ever-growing sound palette commands total attention throughout the LP, within the album sees delicate collaborations with Lithuanian artist Ugné Uma, Jabu’s guest and percussionist, Typesun. Memotone (Will Yates) is a learn-by-playing multi-instrumentalist and producer, working with minimal, ambient and contemporary classical music. Predominantly an improviser, recent years have seen memotone lean towards a more free-form approach, exploring jazz, drone and more meditative music, also showing a keen interest in sound design and textural experimentation. Will has released music with various labels over the years to critical acclaim, most notably; World of Echo, The Trilogy Tapes, Sähkö Recordings, Accidental Meetings, Patience/Impatience & Black Acre.) 28.00
OTOMO YOSHIHIDE'S NEW JAZZ ORCHESTRA - Out To Lunch DLP (Aguirre - Finally Repressed! Eric Dolphy's final studio album is hailed as one of the finest examples of mid-'60s post bop. Its reputation is purely one of backwards significance. Dolphy, having recorded the album in February 1964, was in Europe less than six weeks later and his all-too-brief life ended less than two months after that. Though likely he never held a copy in his hands or heard any critical opinion of it, it marked his last flurry of original compositions and is considered his apex. It is fascinating to consider whether he would had moved past or away from the album in 1965, had he lived.) 35.00
PHILIPPE LAMIRAL POIRIER & ROMEO POIRIER - Images Parlées LP (Besides his work as a painter, filmmaker and set designer, Philippe Lamiral Poirier (1951-2025) played guitar and saxophone in the group Kat Onoma, which he co-founded with Rodolphe Burger.�His fifth studio album combines his written texts with music composed by his son, Roméo Poirier, whom he considered to be cut from the same musical cloth as he was. It also confirms what has emerged from his previous albums, namely songs more spoken than sung and whose words evoke images, thus the album’s title – Images parlées. A book of his paintings, Images traversées, will be published simultaneously with the album. In this continual back and forth movement between text and image, music has always been present – sensitive and abstract, expressing nothing other than itself. It hollows out a place to tell us where we are. It is life without delay.) 30.00
REIMAKI - 妖精の通る道 LP (an archives - 妖精の通る道 (The Path Where Fairies Pass) is the debut vinyl release by Reimaki, the duo of Rei Yokoyama (Triggers Flowers, Stakaidan, Lapiz Trio, 新井薬師自警団, and Fujio, Chiko Hige and Rei), and Maki Miura (Tsubamegami, Les Rallizes Dénudés, Shizuka, Fush*tsusha, Ohkami No Jikan and Katsurei). The duo has been an understated presence in Tokyo, playing occasional under-the-radar shows and self- releasing a few CD-Rs, but they’ve recently started to break cover, with a recent cassette on UFO Creations, released in support of a late 2024 tour of China. It’s also a welcome reappearance on the scene for both musicians; Miura’s musical history, in particular, is being reevaluated thanks to a recent string of welcome Shizuka reissues.) 37.00
ROUDI VAGOU & LÄUTEN DER SEELE - Taghelle Nacht LP (restock - Across an extensive suite of enchanting miniatures, Matthias Kremsreiter and Christian Schoppik present the hypnagogic vision of Taghelle Nacht. Recording under their respective Roudi Vagou and Läuten der Seele aliases, Kremsreiter and Schoppik combine their distinct but equally accomplished instrumental practices into a new collaboration that weaves swooning samples amongst instrumental passages. They lead us through 16 vignettes that revel in the cognitive dissonance and seductive magic of moonlight at midnight.) 30.00
SHADOW PATTERN - Live At Somewhere LP (discreet - "I call it ‘the Shadow Pattern Vignette’. A fragmentary and pleasingly non-discriminatory exercise in audio capture which, when sequenced, compiled or arranged alongside other such vignettes, leads to the finished work of Nate Ivanco’s Shadow Pattern. You can reach into the hermetic depths of his Hamilton Tapes micro label, recent transatlantic appearances via Infant Tree, Chocolate Monk or adhuman, or indeed, this new LP ‘Live at Somewhere’ and find the Shadow Pattern Vignette. Forever in evidence as the clear constituent part from which the whole is always produced. Such a method is easily described by the oft-applied generalism ‘sound collage’, however, there is rawness; a purity, an essence to Ivanco’s intuitive vocabulary that situates his material beyond what that term evokes for me. Instead, I sense an internal logic to the Shadow Pattern Vignette that operates within an almost conventional tradition of bedroom music-making; saturated with ‘hit record and play’ homespun liveness that endures whatever the final form of the resulting session. No surprise then that ‘Live at Somewhere’ was birthed from studio renditions of material either performed in real time or developed for live performance, with significant quantities of their 12-inch real estate committed to the long-form fleshing out of tonally inclined instrument-based pieces. Side A’s workout for poorly dubbed guitar and pipe lurches from modes of fluttering mulch and coughing electronic intervention to freer states of pure playback; settling into a lulling wash of harmonics, hiss and scrape. Likewise, Side B’s sniffin’, gruntin’, fourth-wall-shatterin’ take on the pianoforte spends ample minutes letting the tinkling ivories speak for themselves. By the time the sound of moaning ferric via strained capstans and quivering belts makes its reappearance, the listener is struck by how finely its timbres mesh with an auditory context equally prizing the rattle of frame or squeak of stool amidst the hammering of notes and chords. Both pieces are rich with detail and unpredictable turns of event, yet the atmosphere of the work taken in its entirety is where the music feels familiar and trademark to the project. Does ‘Live at Somewhere’ push the inherent musicality of Ivanco’s language further to the fore? Or is such evolution baked into the Shadow Pattern Vignette? Perhaps this is the sound of Nate rising to the occasion of his first outing on mass-produced wax via Discreet – a label known for its championing of the murky and melodic? Is any of this true for Nate or just my pontificating ass fulfilling a writing brief? I’m several listens in and all I know for sure is that I love this record and keep wanting to hear it again. In summary: inherently playable DIY home taping FFO: Spoils & Relics, Graham Lambkin’s ‘Aphorisms’, ’00s Midwestern basements, Afvikling Kassetter, Guinness.") 27.00
SLUG MASS - zemantower LP (krank it - Known from the Malmö 2025 compilation. The latest album by Malmö's SLUG MASS, a Swedish musical project known for blending elements of doom, jazz, and rock. 9 new tunes of instrumental Noiserock madness. "Skronky instrumental postrock.“) 23.00
V/A - Tokyo Riddim Vol. 2 1979-1986 LP (Diving deeper into the story of Japanese reggae pop, Tokyo Riddim Vol. 2 explores an electronic, new wave and often experimental sound unlike anything Japan or Jamaica had ever heard before. The first time Ryuichi Sakamoto left Japan, he did not go to the United States or Europe - he went to Jamaica. It was 1978, YMO were about to release their debut album, but Sakamoto was in Kingston, invited to play synths for Japanese idol singer Teresa Noda at Dynamic Sound Studios in a band alongside Neville Hinds and none other than Rita Marley. It’s not a story many know, but one which would spark Sakamoto’s fascination with dub and mark a new chapter in the ongoing Japanese love affair with reggae. ) 30.00
CD
AHMED - Giant Beauty 5xCD BOXSET (أحمد [Ahmed] is the quartet of Pat Thomas (piano), Joel Grip (double bass), Antonin Gerbal (drums) and Seymour Wright (alto saxophone). Together, the group re-arrange and re-imagine in real time the music of composer, bassist and oud player Ahmed Abdul-Malik (1927-1993).) 66.00
أحمد [AHMED] - Play Monk 2xCD (After 6 albums re-imagining the work of Ahmed Abdul-Malik, أحمد [Ahmed] turn to the material of Malik’s bandmate Thelonious Monk in the group's ongoing search for future music. Before going on to develop his own groundbreaking approach to jazz, Ahmed Abdul-Malik worked in Thelonious Monk’s late 1950’s quartets - appearing on seminal Monk recordings: Thelonious In Action (1958) and Misterioso (1958), and the more recently unearthed Thelonious Monk Quartet with John Coltrane at Carnegie Hall (2005). Abdul-Malik and Monk share a critical engagement with time - specifically in challenging its linear trajectory and offering sites and modes of synthesis and rupture instead. In their music, fragments of time are scattered and re-arranged in the present, an idea central too to the project of أحمد [Ahmed]. Over several decades, all four members of أحمد [Ahmed] have engaged with Monk’s standards in various individual and collective ways, but Play Monk, recorded in the same three-day London studio sessions as Sama’a (Audition), is the first released documentation of the group's versions of Monk’s music which began with a spontaneous interpretation of ‘Evidence’ in Novara, Italy, 2023.) 28.00
TAPE
ENDSTAND - To Whom It May Concern TAPE (Endstand was a four member hardcore/punk band from Riihimäki, Finland. Since they formed in 1996, they have released six full length albums, a couple EPs and splits. They've done over ten European tours done, one tour in Japan and numerous shows in Finland. This is the debut album by Endstand. Originally released in 1999.) 10.00
FOTOCRIME - Security TAPE (Exploding with melodic and pummeling industrial-tinged post-punk, Louisville dark punk stalwarts FOTOCRIME erupt in an unexpectedly aggressive tone on Security. Few bands sound this immediate and energized on their fifth album, yet Fotocrime tear through Security’s ten songs in just over thirty minutes with a surprising fervor. This more guitar-driven direction may seem like a pivot, but to those in the know it’s inherent in Fotocrime leader Ryan Patterson’s musical history and DNA.) 10.00
PIEUVRE - Away From Human Behaviour TAPE (ADAGIO830 - "Away From Human Behaviour" the latest input from Berlin all-female trio Pieuvre, is an album of angular, witty, impertinent post-punk tunes, whom lyrics speaks about alienation of work life, the vacuum of consumerism and what makes us different from a plant or from some inanimate creature, like the ones on the cover… The album was co-produced by Kitchen Leg records and Adagio 830) 8.00
