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Record label & @nts_radio show ~ global folk, field recordings, soundsystems, pirate radio + various wormholes. Shop currently open by appointment:
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Recent posts
K/Cahill's Inside the vibrations inside the wanting out is now in stock and shipping from @boomkatonline
"Satisfyingly rough around the edges yet clearly accomplished, ‘Inside the vibrations inside the wanting out’ captures Cahill in his element, playing at the speed of thought on a 40 min slice from his Toronto home practice. Performing solo on prepared steel string guitar to a pair of panned mics during Halloween, 2025, Cahill’s digits sound like they need a bit of moisturising after this one, as we can only imagine the flurried clusters of steel strings, played with quiet intensity, are hard on the fingers. It’s maybe pain at the service of beauty, then, as it’s a pleasure to follow his flow into passages of riveting, Flamenco-esque romantic melancholy on centrepiece ‘Named City I Walk Through’ and onto the more angular yet clearly pretty extended melody in ‘Carvers of Argillite’, calling to mind Derek Bailey via Tashi Dorji."
12 Nov 2026
Following our recent @nts_radio focus on Brazilian post-punk, goth & new wave we're excited to issue a collection of recordings from one of the bands that featured prominently, R. Mutt.
Konkret Dance 1986-89 is the unreleased first album by the Belo Horizonte group. The record features a collection of 15 songs recorded between 1986-89 taken from their only two cassette tapes, respectively self-titled 1 & 2. Link in bio.
06 Nov 2026
Gamelan Music of Bali: Field Recordings by Deben Bhattacharya, 1973-74. Searingly beautiful and hypnotic - some of the finest candid, open-air sonic documents made of gong keybar orchestras. Double LP comes with each track cut across its own side to get lost in, limited to 300 copies. Go grab now from @boomkatonline
30 Oct 2026
Charles Ives - Piano Studies, Transcriptions & Improvisations 1933-1943.
Between 1933 and 1943, Charles Ives recorded a series of private piano performances across four separate sessions - starting at the Columbia Gramophone Co., London, followed by studio visits in New York City using aluminium Speak-O-Phone, Melotone, and lacquer discs. These recordings were never meant for public release, capturing improvisatory studies, fragments, and embellishments of the "Emerson" movement from his Concord Sonata, alongside other early pieces.
The technicalities of the era's recording constraints posed a frustration for the composer. Limited to the short recording duration of shellac and lacquer discs, Ives was forced to break up his playing, leading to interruptions, retakes, and candid outbursts. This collection attempts to piece together selections from these sessions in a sequence that feels at once spontaneous, natural and yet intentionally modern.
Selections from Ives Plays Ives, taken from private recordings in the Charles E. Ives Collection, Yale Music Library. Link in bio.
29 Oct 2026
Broadcasting on @nts_radio for the next two hours, fresh from the cheap bins of Istanbul’s many shopping arcades with a collection of 1980s arabesque & fantezi records.
Blending traditional ottoman and middle eastern musical elements with western orchestral arrangements and synths, arabesque is characterised by dramatic, sorrowful vocals focusing on heartbreak and alienation - which earned it a ban from Turkish national, state tv and radio broadcasts throughout much of the 80s following the 1980 military coup d’état. Its themes of kader (fatalistic destiny) were deemed defeatist and psychologically damaging to the national populace. Fantezi, though closely linked, skewed towards more commercial, westernised and upbeat pop tropes, allowing musicians to face less scrutiny from state censors.
🎵 Ümit Besen – Nikah Masası
25 Oct 2026
Allan Bryant - Space Guitars, now in stock on double LP and cassette from @boomkatonline
“Originally released in 1977 and expanded for a 1995 edition by Musica Elettronica Viva founder member Allan Bryant, ‘Space Guitars’ uses no electronics, Bryant instead prepares and plays his modified instruments to remodel the sound into unclassifiable waves, clusters of bleeps and insectoid chirps.
Bryant wasn’t averse to electronic music - he started an influential electronic improv act with Alvin Curran, after all - but he didn’t want to rely on synths to make “fascinating new and completely different sounds.” And ‘Space Guitars’ collects studies he made specifically for guitar, whether it immediately sounds like it or not. The title track alone is mindbogglingly unique, making Derek Bailey and Fred Frith’s prepared jammers sound almost pedestrian in comparison. We’re not completely sure what Bryant is doing, but using only amplification and his arsenal of instruments, he creates sounds with as much variance and texture as a room filled with synthesizers, constantly modifying the pitch and any identifying sonic markers to prevent us from hearing anything that might be too straightforward.
It’s hard to believe ‘Bouncing People Planet’ isn’t firing from a rack of modules; the way Bryant stacks his ping-ponging string sounds is undoubtedly inspired by synth methodologies and the sound itself is confounding, dense and rhythmic in ways you struggle to comprehend. Best of all though is ‘Space Train’, where Bryant makes his guitar sound like one of Alan Lamb’s legendary aeolian harps, stretching its strings to make it mimic train wheels moving across miles of track.”
13 Oct 2026
East of the Valley Blues’ K/Cahill issues a solo tape for Death Is Not The End. In/complete single take improvisations inside a spectrum of de/tuned shadow buzz and hiss…
Solo prepared steel string guitar / two microphones panned / Halloween 2025 / at home in Toronto
Link in bio.
04 Oct 2026
DJ Old Rat & Jah Coozi Present: Death Is Only a Dream, a cassette-only mixtape up for pre-order now via the link in bio.
A selection of foundational country blues & gospel from a pair of Steves; Steve Barker aka DJ Old Rat (On-U Sound associate, long-time Wire columnist and the man behind the On The Wire radio show), and Steve Hardstaff aka Jah Coozi (legendary music industry designer, once responsible for major work for Led Zeppelin, Fleetwood Mac etc. and continues to work on sleeves incl. this very one). Two long-time record obsessives (re)turning to their fundamental musical passion.
03 Oct 2026
Another limited first-time double vinyl and cassette release for recordings from Deben Bhattacharya’s early 1970s journeys around South East Asia, this time focused on the traditional and religious music of Thailand.
Music from Thailand: Field Recordings by Deben Bhattacharya, 1973, now available to download and preorder via the link in bio.
“Traditional music is usually indigenous but the performing and the graphic arts of a number of countries in Southeast Asia are deeply involved with the cultural and the political history of the region. We find that this pattern repeats itself in Laos, Cambodia, Indonesia as in Thailand where Hindu and Buddhist cultures have intermingled and prevailed in the past and in many cases still continue to do so.
As in most countries of Asia, the Thai music consists of two distinct features: the folk songs and dances which belong to the village traditions and the Piphat orchestra with its complex structure, no doubt developed and played for the elite, both in villages and towns. The village music in the main is melodic, with songs and dances accompanied by woodwind and stringed instruments as well as drums and metal percussion instruments for providing the rhythm. The Piphat band, on the other hand, employs a rich collection of percussion instruments Piphat orchestra belonging to the metallophone and the xylophone families and played with drums, gongs and cymbals. These are divided into two sections, one providing the melody and the other the rhythm. Sometimes the orchestra is led by a single wood-wind instrument called the Pi Nai which belongs to the oboe family of instruments. The music is played in a diatonic scale with seven equidistant notes but without any semitones between the steps of the octave. The record begins with the music of the Piphat orchestra played for Ramakien, the epic which has represented the political and the cultural history of Thailand since ancient times.”
- Deben Bhattacharya, 1999
30 Sep 2026
Listen back to the latest @nts_radio transmission from late last night - 2 hours of Brazilian post punk, goth & new wave from across the 1980s and very early 90s.
🎶 Vzyadoq Moe - Não Há Morte
28 Sep 2026
"Guess-again specialists Death Is Not The End reissue Earle Brown’s 1974 solo debut of otherworldly concrète, notably featuring piano by live electronics pioneer and Cage foil, David Tudor, contributing to its uncanny magnetic tape soundscapes.
‘Music by Earle Brown’ features compositions written 1952-1963 during the years after its maker moved to New York to be closer to kindred spirits Merce Cunningham, John Cage, and David Tudor, whom he met years prior when they performed in Denver where he was teaching the Schillinger technique of composition. In New York, his style of open form composition would influence Cage’s own developments guided by indeterminacy, which in turn exposed Brown’s music to Pierre Boulez and Bruno Maderna, and whch led him to work with Morton Feldman, as heard on their 1962 split side - Brown’s first recording credit, for Time Records.
The four works speak to the pivotal emergence of new music during that era. In chronological order, ’November 1952’ features a stop/start angularity, shards of keys and persuasive detonations precisely performed by David Tudor, gripping in its embrace of negative space, contrasting with the fractious concrète cut-up tones of ‘Octet I’, a 1953 piece composed and executed entirely by Brown and comparable as much with Stockhausen’s early electronics as the oddities emerging from Pierre Henry’s studio around that same time.
Forward ten years to the album’s long-form bookends, where he conducts an acoustic octet in the fever dream-like play of dissonance and queered pitches on ‘Novara’ (1962), and conducts many of the same performers, and joins them on magnetic tape, for ‘Times Five’ (1963), a fascinating electro-acoustic whorl of rich colours and icicle rhythms that slips off the page into sustained, pitch bent notes with an effect that must have felt radical at the time, and still represents the curiosity and freedoms of the New York School of composers."
Music by Earle Brown, now in and shipping on vinyl from @boomkatonline
22 Sep 2026
A pioneering collective of experimentalists in San Francisco’s Bay Area between during late 70s to early 80s, The League of Automatic Music Composers were widely regarded as the first musicians to incorporate microcomputers into live musical performance - creating networks of interacting computers and other electronic circuits with an eye to eliciting surprising and new “musical artificial intelligences.” Approaching the computer network as one large, interactive musical instrument made up of independently programmed automatic machines, resulting in a music that was noisy, difficult, often unpredictable, and occasionally beautiful.
The League of Automatic Music Composers, 1978-1983 landing on double vinyl and cassette in November. Cop digital and pre-order physical via the link in bio.
16 Sep 2026
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