Experimental

Experimental2020-03-09T21:34:03+00:00
Nils Frahm “All Encores” (Erased Tapes)

Nils Frahm “All Encores” (Erased Tapes)

Nils Frahm announces the release of Encores 3 on 18 October 2019, the third and final installment of his Encores series. The three EPs will be available as one full length release titled All Encores featuring 80 minutes of music, to follow his masterful 2018 album All Melody.

Whilst Encores 1 focused on an acoustic pallet of sounds with solo piano and harmonium at the core, and Encores 2 explored more ambient landscapes, now Encores 3 sees Nils expand on the percussive and electronic elements in his work.

“The idea behind All Encores is one we had from before All Melody; to separate releases each with their own distinct musical style and theme, perhaps even as a triple album. But All Melody became larger than itself and took over any initial concepts. I think the idea of All Encores is like musical islands that compliment All Melody.”

Moulded during All Melody but refined by his live performances, All Encores is testament to Nils’ exceptional ability to craft his art on stage. Artificially Intelligent which showcases his ‘mad professor’ organ, and All Armed which has been a live favorite for some time, appearing on set lists since 2015, are now available to hear on record for the very first time. The final track of Encores 3, as well as the whole series, Amirador, perhaps aptly nods to the Spanish word for ‘lookout’ and hints at what’s to come.

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Lightning Bolt “Hypermagic Mountain” (Lightning Bolt)

Lightning Bolt “Hypermagic Mountain” (Lightning Bolt)

Hypermagic Mountain, Lightning Bolt’s 4th album has been unavailable for nearly a decade since it’s 2005 release. Back as a double LP including a full drawing by Brian Chippendale as the D side Etching! The package includes a large scale 4-page book (previous pressings included a cd size book). Recorded at Machines with Magnets and Lightning Bolt’s home by Dave Auchenbach. Lightning Bolt play with abandon that is unmatched and remarkably undiluted and this album is just one more example of that raw power and sound.

They are often called one of the loudest rock outfits in existence, both on record and on (or famously, off) the stage. Brian Gibson creates sounds that are unexpected and remarkably varied with his virtuosic bass playing and his inventive approach to the instrument, centered around melody rather than rhythm. The dizzying fury of Brian Chippendale’s drums twist from primal patterns into disorienting break beats as his distorted, and echoing vocals weave more melody into the mayhem.

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Gagarin Kombinaatti “83-85” (Sahko)

Gagarin Kombinaatti “83-85” (Sahko)

Gagarin Kombinaatti was Mika Vainio’s earliest band project in Turku in the early ’80s. This band was influenced by industrial groups like Throbbing Cristle, Einsturzende Neubauten and Test Department. Vainio compiled a this album from the original cassette recordings in 2015.

Stephen O’Malley “Auflosung” (Editions Mego)

Stephen O’Malley “Auflosung” (Editions Mego)

“Produced within the context of The Guidebook of Church Burners publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O’Malley is a result of this collaboration.” – Emilie Lauriola

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NYZ “Millz Medz” (Important)

NYZ “Millz Medz” (Important)

Lose yourself in the circuitry of the original 1965 Buchla 100 with NYZ (Dave Burraston) as he utilizes Barbara Hero’s Lambdoma tuning theories to create two slow, deeply layered, subconscious, organic and meditative compositions. NYZ’s split 12″ with ELEH (IMPREC 477LP) will be released at the same time as Millz Medz. David Burraston is an award-winning artist/scientist working in the areas of technology and electronic music, operating Noyzelab as an independent art/science music studio since 1981. His experimental arts practice encompasses field recordings, landscape-scale sound art, chaos/complexity, practice-based research, sound synthesis, and electronic music. He performs, lectures, conducts workshops, and creates art installations in Regional NSW and around the world. David also designs and builds sound synthesizers based on his theories of chaos/complexity science. David has worked with many diverse collaborators such as Aphex Twin, Chris Watson, Doug Quin, Russell Haswell, Robin Fox, Oren Ambarchi, Sarah Last, Cat Hope, Garry Bradbury, William Barton, Alan Lamb, MIT Media Lab, and the Australian Broadcasting Corporation. In 2014m he independently published the legendary “SYROBONKERS!”, the most technical and in-depth interview ever given by Aphex Twin. First pressing of 500.

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Eleh/NYZ “split LP” (Important)

Eleh/NYZ “split LP” (Important)

Split release between ELEH and NYZ (David Burraston). Released alongside a full-length from NYZ via Important Records (IMPREC 453LP). ELEH: This side is possibly the artist’s most complicated electronic composition. It navigates myriad timbral, tuning, and temporal processes while winding itself to completion. It was composed/constructed over a period of months in early 2019. NYZ: Two crunchy microtonal drone meditations in mono, using techniques of digital FM and hybrid analog/digital modular synthesis. “FM60P::fbk1#03” is from a number of sessions recorded on a battered SY99 recorded from 2013 to 2014. As the name suggests, this particular session revolved around using feedback in the FM algorithm. “EML DRNPi” was recorded as part of the 2015 Plum Island Sessions where Burraton had a host of synths on loan from John Brien at Important Records. For the recording, he used the EML ElectroComp 101 and a 4-voice digital microtonal oscillator running a Lambdoma Matrix to make a hybrid analog/digital system. Heavy-duty sleeve; First edition of 500.

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Master Musicians Of Jajouka “Apocalypse Across The Sky” (Zehra)

Master Musicians Of Jajouka “Apocalypse Across The Sky” (Zehra)

Zehra present a reissue of Apocalypse Across The Sky by The Master Musicians of Jajouka featuring Bachir Attar, originally released in 1992. Available on vinyl for the very first time. Produced by Bill Laswell, remastered for vinyl by Helmut Erler at Dubplates & Mastering, Berlin. No matter if you consider the Master Musicians of Jajouka a “4,000 year-old rock n’ roll band” (William S. Burroughs) or even “6,000 years old” (Ornette Coleman) — without doubt, the music of the ensemble in all its incarnations over the centuries is deeply rooted in Sufi mysticism, paganism, and the cult of the goat-god Boujeloud. According to a myth, many centuries ago Boujeloud appeared to a shepherd called Attar, an ancestor of today’s ensemble leader Bachir Attar, and till today every year at the end of Ramadan a fire in honor of the goat-god is ignited. This pagan root aside, the music performed in several hour long rituals on traditional instruments like tebel and tariyya (drums), ghaita (a woodwind instrument), lira (flute), and gimbri (stringed instrument) reveals hypnotic, trance-inducing qualities and is considered to have magical and healing properties. In the 1950s, Brion Gysin along with Paul Bowles were among the first westerners to witness such a ceremony, and it was Gysin who invited the Master Musicians of Jajouka to play in his restaurant in Tangier, and who later (in 1967) brought Brian Jones to the small village of Jajouka where the Rolling Stones guitarist recorded the ensemble for what became the first “world music album” and that raised interest in the Master Musicians of Jajouka in the western world. Since those days, a wide number of creative minds like William S. Burroughs, Ornette Coleman, Marc Ribot, Flea, Talvin Singh, or the Rolling Stones have worked with the Master Musicians of Jajouka who are now performing regularly outside Morocco. In 1991, iconic producer Bill Laswell also embarked on a trip to the small village of just 800 inhabitants in the Rif mountains to record the group for his Axiom label — Apocalypse Across The Sky is, unlike other Laswell projects that bring together different cultures and genres, a pure document of the ensemble, raw and unpolished but exquisitely recorded, and ranks among the essential recordings according to the world music magazine Songlines. 180 gram vinyl; gatefold sleeve; includes download code.

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Windy & Carl “Allegiance And Conviction” (Kranky)

Windy & Carl “Allegiance And Conviction” (Kranky)

Legendary Dearborn duo Windy & Carl have been crafting inner space electric guitar and bass vistas for nearly three decades now, but their latest feels as vital and vaporous as any peak opus in their vast catalog. Written and recorded across six years, the songs swirl between shoegaze minimalism and stargaze drift, over which Windy Weber whispers veiled poetic narratives of transformation, isolation, and escape. Allegiance And Conviction is their first album since 2012’s We Will Always Be. The six compositions are something of outlier in their catalog, shorter in nature than most on their previous releases. All of the tracks are saturated with Carl Hultgren’s signature guitar work, intimate constructions of murmurs, drones and his trademark layered filigree, gently amassed into alternately lighter and heavier than air atmospheres. Despite being their first full-length in more than half a decade, the album fully belongs to the bewitching galaxy of sound Windy & Carl innovated and within which they remain the sole occupants: music of thresholds and peripheries and eternities. Allegiance And Conviction is the multifaceted, contemporary take on their sound.

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Ghedalia Tazartes “Diasporas” (Dais)

Ghedalia Tazartes “Diasporas” (Dais)

Originally recorded in 1977, following a limited release in 1979, Ghédalia Tazartès debut album, Diasporas, introduced listeners to the surreal, mysterious and truly unclassifiable statement of Tazartès and his out-of-time place in the French avant-garde canon. Born in Paris in 1947 to Judaeo-Spanish parents of Greek descent, Tazartès spent his early career as an autodidact utilizing his knowledge of repetition and collage, coupled with his Ladino linguistic heritage, to create some of the most unique recordings of the late 20th century. Interest in the works of Tazartès truly sparked when artist Steve Stapleton included his follow up album, Tazartès’ Transports, in his famed “Nurse With Wound List,” thus adding endless curiosity to the folklore behind Tazartès and his mystical entrée.

From the onset of Diasporas, looping incantations seemingly pile up at the behest of Tazartès. In almost a prayer-like decree, Tazartès chants to the gods in an undefined whail that is both haunting and spiritually divine. Tazartès unique use of tape loops to capture the disappearing traditions of his family’s past creates an atmospheric texture that unexpectedly complements his cut-up, manipulated vocal experiments. While contemporaries within the French avant-garde maneuvered academic theory and rigid tradition, Diasporas strays away from these boundaries, working in Tazartès’ invented practice of ‘impromuz’, a method in which he endlessly records for hours and edits only the moments that display any sense of spontaneous enlightenment. Further emboldening the obtuse nature of Diasporas are the seemingly random recitation of poet Stéphane Mallarmé and the traditional ‘Parisian-style’ piano accompaniment of experimental composer Michel Chion.

Since its initial release over 40 years ago, both Dais Records and Alga Marghen have released reissues of Diasporas in various formats, with the initial Dais Records vinyl edition falling out of print. Dais Records presents an official reissue, newly remastered by Josh Bonati, utilizing the original artwork of Diasporas in its sole album form, for the first time in over four decades.

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Ian William Craig “Red Sun Through Smoke” (Fat Cat)

Ian William Craig “Red Sun Through Smoke” (Fat Cat)

Uncannily timed for the current state of humanity and its need for reflective composure and cathartic expression, ‘Red Sun Through Smoke’ is a powerful new body of work by IWC, who has become widely beloved for his textured tape recordings with Recital and FatCat’s 130701 label over the past decade. Taking the experience of personal loss and finding new love whilst forest fires raged in British Colombia as inspiration, IWC transmutes his feelings into rough gold across 12 of the most stripped back, direct and affective songs in his catalogue.

The background to ‘Red Sun Through Smoke’ is almost hard to believe. Ian travelled to his grandfather’s house to record an album while his gramps resided in a car home. But upon arrival his grandfather was taken gravely ill and moved to palliative care, where he sadly died two weeks later. During this time, as life would have it, Ian met someone special and fell in love, but they promptly moved to Paris, 5000 miles away. A long distance relationship flourished while Ian also grieved and wrote the music of ‘Red Sun Through Smoke’ against a backdrop of thick smoke, in a small house shared with his parents. Understandably, many of us would crack or unravel under this sort of stress, but Ian turned the intensity of the situation into a master opus.

Pared back to keys, vocal, shortwave radio and tape, the recordings find IWC at his most vulnerable, with a vocal captured naked to tape and then mixed on vintage 4-track with shortwave static and tape infidelities to poetically represent his situation, as he attempted to follow and come to terms with his thoughts amid scenes of emotive confusion. The results are inarguably, soulfully profound from the multitrack choral greeting of ‘Random’ to the elegiac resolution of ‘Stories’, following the artist’s bewildered state of mind between heart-breaking songs such as ‘Supper’ and its stark refrain, “We had grief for supper”, the doomy majesty of ‘Open Like a Loss’, and the devastating smoky stillness of ‘Last of the Lantern Oil’ where his touch for textured, dreamlike tones is at its most traumatised.

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Crys Cole “Beside Myself” (Students Of Decay)

Crys Cole “Beside Myself” (Students Of Decay)

“Beside Myself is the second full-length release from Canadian sound artist crys cole. Known to many through her extensive collaborative practice with artists such as Oren Ambarchi, Leif Elggren, and James Rushford, in her solo work cole uses contact microphones, voice, simple electronics, and field recordings to create sonic environments that linger uneasily at the threshold of perception. Demonstrating how cole’s work has developed and deepened since the relative austerity of her first solo LP Sand/Layna, Beside Myself offers two lushly immersive side-long pieces that explore ideas of compositional drift. ‘The Nonsuch’ is inspired by the aural hallucinations experienced in the hypnagogic state during the onset of sleep. Opening with scratching contact mic textures and unintelligible vocal murmurs, the piece threads together live and studio performances with field recordings of urban environments to create a texture that is at once seemingly consistent and marked by constant transitions. Individual elements rise up from the background thrum only to disappear just as we become conscious of them; heterogenous sounds and spaces succeed one another with the unassailable logic of dreams. ‘In Praise of Blandness (Chapter IX)’ also focuses on drift and transition, but in a much more single-minded way. Over a rich, slowly-evolving organ drone, cole reads a passage from the French sinologist François Julien’s book In Praise of Blandness (1991) exploring the concept of ‘blandness’ in the Taoist aesthetics of sound. Beginning crisp and clear, cole’s voice becomes gradually less distinct over the course of the piece, the spoken words blurred by resonant frequencies à la Lucier’s I Am Sitting in a Room until we are left with only the rhythm of incomprehensible speech. The text that cole reads acts a perfect description of her aesthetic project: ‘We hear it still, but just barely, and as it diminishes it makes all the more audible that soundless beyond into which it is about to extinguish itself. We are listening then, to its extinction, to its return to that great undifferentiated matrix’.” –Francis Plagne (November, 2019) Includes download code; edition of 300.

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Ever Isles “Cocoon” (Touchtheplants)

Ever Isles “Cocoon” (Touchtheplants)

Kaitlyn Aurelia Smith is an American composer, performer and producer, originally from Orcas Island and currently based in Los Angeles. After several self-released albums, Smith was signed to independent record label Western Vinyl in 2015, who released her first official album, Euclid, in January 2015. Tides: Music for the Meditation and Yoga, was released in January 2019. Smith grew up and was home-educated on Orcas Island, Northwestern Washington. She left the island to study composition and sound engineering at Berklee College of Music in Boston, before returning to the island after her graduation. It was after returning home that Smith discovered synthesizers, when a neighbor introduced her to the Buchla 100 Synthesizer. Having originally intended to use her voice as her primary instrument, and then moving to classical guitar and piano, Smith switched to the use of synthesizer after being leant and experimenting with the Buchla 100 for a year. Smith formed indie-folk band Ever Isles whilst still at Berklee but left the project after discovering the Buchla 100, explaining, “I got so distracted and enamored with the process of making sounds with [the Buchla’s potential] that I abandoned the next Ever Isles album.” When developing her composition skills, Smith used visual aid as inspiration for her music. She has said that she is always composing to a visual in her head, explaining, “Sometimes I let the sound create the image for me and then I build off that. Or vice versa: I come up with imagery that is inspiring to me, or I see something that is inspiring, and then create sounds that I feel match it.” Recorded in 2009, Ever Isles’ Cocoon is an experimental folk album made by Kaitlyn Aurelia Smith and Jeremy Harris on Orcas Island in an improvised recording studio built from bed mattresses. Smith and Harris, longtime friends, first met in 2004 while attending Berklee College of Music. Cocoon is the only remaining document of the Ever Isles project and offers a unique glimpse at the early work of Kaitlyn Aurelia Smith — an era predating her discovery of synthesis when she was still playing classical guitar. Jeremy Harris, a multi-instrumentalist and neo-classical composer, engineered and co-produced the record with Smith. In 2016, Harris released Ages via Gnome Life Records.

Eleh ‎”Living Space” (Touch)

Eleh ‎”Living Space” (Touch)

Following Slow Fade for Hard Sync (2009) and Location Momentum (2010), Living Space is Eleh’s third physical release for Touch. Seven years in the making, this new release consolidates the artist’s parallel narrative between a series of vinyl and CD releases for Important Records — where the emphasis is on a minimalist aesthetic — to a visual counterpoint that hints at the cinematic and painterly qualities of the music. Sound, as a healing force, is an idea as old as the medium itself. Inspired by the legacy and above all the spirit of John Coltrane, Living Space features five new compositions that seek to express the beauty of slow change, not only through the microtonal shifts in sound that Eleh navigates but moving with the atmospheric and shape-shifting conditions that the music creates as it interacts with the listening space, whether bedroom or concert hall, each one of them unique. If the ambition of Living Space is to reflect both personal and collective growth cycles, the experience of its audition has the effect of stopping time. Melodic and harmonic progressions are implied and not stated obviously, to enable listeners to apply their own emotions and feelings to the music. Using modular and analog synthesizers, piano, organ, bass, and symphonic chimes, Living Space stresses the promise of the albm’s final track — “Lighter Touch” — forsaking the forceful hand for an approach that mirrors the slower and softer exposures of plant life and leaf formations, slow moving waters, not flash floods nor forest fires. In counterpoint to the music, the 64-minute album is presented in a gatefold sleeve with Jon Wozencroft’s water photography extending the meditational pull of these new compositions. For those for whom Eleh needs no introduction, see if you agree. Anyone who has yet to experience the artist’s sonic alchemy, Living Space is the perfect starting point.

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Ground Zero “Revolutionary Pekinese Opera Ver. 1.28” (Le Narthecophore)

Ground Zero “Revolutionary Pekinese Opera Ver. 1.28” (Le Narthecophore)

In 1984 the German free jazz duet of Alfred Harth and Heiner Goebbels released an album containing their interpretation of a Chinese opera from the 60s. Then in 1995, using extensive samples from that German recording alongside a free rock ensemble and traditional Asian instruments, Otomo Yoshihide and his Ground Zero band issued a terrific and definitive rendition of that opera, in the form of a noisy sound collage.

We reunited the Japanese and original German versions on that record.

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Lightning Bolt “Ride The Skies” (Thrill Jockey)

Lightning Bolt “Ride The Skies” (Thrill Jockey)

Ride the Skies is the second album by Lightning Bolt, and this re-release makes it available to fans for the first time since it’s original release. Compared to their first album it’s cleaner, tighter, recorded in studio rather than live. Which is not to say this is boring or sanitized in any way, Lightning Bolt never fail to make magic, filling a space with loud, raw sound. Sounds of synth or guitar turn out to be bass, and riffs become patterns, become a beat in the background, become a wall of noise, become a clear sound above it all. Lightning Bolt are known for the sound that truly comes into it’s own in this album. Ride the Skies is rereleased with deluxe packaging featuring jacket art that was designed by Brian Chippendale for the original release but has never been realized until now.

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Hilary Woods “Birthmarks” (Sacred Bones)

Hilary Woods “Birthmarks” (Sacred Bones)

Hilary Woods’ Birthmarks has been a labor of intensity and intuition, written over the course of two years. Recorded whilst heavily pregnant between Galway and Oslo in the winter of 2019, Woods explores the oscillating and volatile processes of selfhood and becoming, hidden gestational growth, and the birthing of the Self, amidst continuous social and personal change.

Birthmarks is a record that hunts for ways in which to revisit and caress wounds left by the memory of their scars. In its mystery and attentiveness to the art of alchemy and the world of the unseen, it is a journey through textural fog and feral density that gives way to passages of voracious sonic exorcism and poetic healing. Its eight songs traverse planes of visceral physicality, stark tender space, and breathtaking introspective beauty.

Spurred on and crafted by the impulse to create a more corporeal sonic tendon for her songs to inhabit, Woods took her vision and home recordings to Norwegian experimental noise producer and filmmaker Lasse Marhaug. The collaboration proved rare and fruitful and lies at the heart of this record. Field recordings, analogue bass synthesizers, hushed vocals, and the breath are underpinned with heavy noise processing, fierce and wide cello, rich percussion, sable saxophone, and electronics.

Birthmarks is inspired and informed by ideas of inner transmutation in the face of anxiety, post-war Japanese and wet-plate photography, early music, the secret life of trees, wolves, drone, the drawings of Francis Bacon, the images of Francesca Woodman, the films of Chris Marker, the experiential collapse of community, and the power of the lone human voice. It is a deeply powerful and enigmatic record that ultimately transcends its disquiet roots.

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Jeremy Cunningham “The Weather Up There” (Northern Spy)

Jeremy Cunningham “The Weather Up There” (Northern Spy)

Chicago drummer and composer Jeremy Cunningham wrote The Weather Up There in response to the loss of his brother Andrew, who died in a home invasion robbery in 2008. Co-produced by Jeff Parker and Paul Bryan, and engineered by Paul Bryan and John McEntire, this new work confronts the tragedy of violence and examines the acute ripple effect on several people’s lives through the lens of memory, response, and collage. Further deepening the textural and emotive impact, Cunningham formed a “drum choir” for these recordings, comprised of close mentors and colleagues Mike Reed, Makaya McCraven, and Mikel Patrick Avery. Cunningham also taps regular collaborators Ben LaMar Gay, Jaimie Branch, Tomeka Reid, Dustin Laurenzi, Matt Ulery, and Josh Johnson.

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Leo Takami “Felis Catus And Silence” (Unseen Worlds)

Leo Takami “Felis Catus And Silence” (Unseen Worlds)

Felis Catus and Silence is a breakthrough release for Tokyo composer-guitarist Leo Takami, following the milestone albums Children’s Song (2012) and Tree of Life (2017). Takami counterpoints the soothing aesthetics of prime-era Windham Hill New Age guitar-heroism with meditative, intellectual compositions comprised of ambitious, process-oriented arrangements. While Takami largely wears his genre influences on his sleeve — jazz, classical, Japanese gagaku — the influence of ambient music is a tacit foundation of his work. Working diligently outside of any established communities for fringe musics, Takami conjures this association through a patient focus on generous musical intervals. Steady, kaleidoscopic unfolding of his compositions reflect Takami’s creative intent to “become aware of precisely the time and place I am living.” The unabashedly sweet, tuneful virtues of his music in concert with this reflective form provide an artistic relief of Takami’s thematic harmony. “Each song is based on birth and death, and moving onto the next stage…”

Leo Takami, born 1970, studied guitar under Hideaki Tsumura (aka Kamekichi Tsumura) and performs regularly in Tokyo.

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Chi “The Original Recordings” (Astral Industries)

Chi “The Original Recordings” (Astral Industries)

Ltd 2020 Repress – 250 copies only – CHI started in the late punk years in the early eighties. A time of change and mind-blowing albums. We started doing sound experiments in an old farm in Moordrecht (thanks to Jan van Rhee and Kees van der Veer). In the summer, all the doors and windows were open, birds flew in and out. In the distance we saw the highway to Rotterdam. In the winter we sat close together, no heating, only blankets, candles and brandy.

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Go Hirano “Corridor Of Daylights” (Black Editions)

Go Hirano “Corridor Of Daylights” (Black Editions)

Black Editions present the first ever vinyl edition of Go Hirano’s third album, Corridor of Daylights, originally released in 2004. Corridor of Daylights is a quiet work of dreamlike brilliance. A home field recording where fragile piano melodies float alongside wind-chimes and wistful melodicas — insects hum in the distance and a breeze gently rustles as summer day eases toward evening. Originally released in Japan by P.S.F. Records in 2004, Corridor of Daylights is a beautiful, soulful dispatch from early aughts Tokyo. Black Editions present Corridor of Daylights, newly mastered for its first ever vinyl edition. Includes bonus track. Comes in a deluxe edition featuring pearlescent paper, metallic inks, and foil stamped letters as well as two inserts including a newly translated illustrated story booklet; Includes download.

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Musica Elettronica Viva “United Patchwork” (Alternative Fox)

Musica Elettronica Viva “United Patchwork” (Alternative Fox)

Alternative Fox present a reissue of Musica Elettronica Viva’s United Patchwork, originally released in 1978. One of the most mythical experimental groups of all time, Musica Elettronica Viva was formed in 1966 by a group of American composers in Rome, its nucleus comprised of pianist Frederic Rzewski, sound improviser Alvin Curran, and the improvisatory keyboardist Richard Teitelbaum. Taking cues from John Cage and David Tudor, MEV employed open, limitless structures, using found instruments, toys, a homemade synthesizer, and the first Moog to reach mainland Europe. Improv and critical listening practices aimed to liberate listeners from the constraints of bourgeois capitalism and as their sound evolved, forms of Jewish mysticism and surrealist automaticism pointed to transcendent potential. An abortive US tour in 1970 split MEV into three units, but the Kabbalistic Dixieland band later reformed with Rzewski, Curran, and Teitelbaum joined by saxophonist Steve Lacy, trombonist Garrett List, and keyboardist Karl Berger. The resultant double album United Patchwork, recorded in November 1977 at Mama Dog for Horo Records, captures MEV in all of their discordant, improvisatory glory, from Teitelbaum’s side-long opener, “Via Della Luce”, to the honking noise of Lacy’s “Fox”, the excessive keyboard meanderings of Curran’s “Psalm”, Berger’s vibraphone folly, “Cross Over One” and Rzewski’s ponderous “What Is Freedom”.

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Laboratorio Della Quercia “Laboratorio Della Quercia” (Alternative Fox)

Laboratorio Della Quercia “Laboratorio Della Quercia” (Alternative Fox)

Alternative Fox present a reissue of Laboratorio Della Quercia’s self-titled released, originally released in 1979. In the summer of 1978, an ambitious twelve-day experimental jazz project was undertaken at the ancient amphitheater, Tasso della Quercia, on the slopes of Rome’s Gianicolo Hill. The idea was to assemble the leading players from Italy’s avant-garde jazz scene, revolving around members of Grande Elenco Musicisti (or GEM), such as saxophonists Tommaso Vittorini, Eugenio Colombo, and Maurizio Giammarco, trumpeter Alberto Corvini and trombonist/composer Danilo Terenzi, together with visiting American players such as saxophonists Steve Lacy, Steve Potts, and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski, and drummer Noel McGhee, among others. Different group configurations were enacted each day and the final gala concert formed the basis of this super rare and highly playful double album, which captures the delightfully messy proceedings. In keeping with the openness of the Roman jazz scene of the day, the project sought to push the boundaries, aiming to break big-band traditions whilst still emphasizing the collective nature of the experience. Enrico Rava’s opening “Tromblues” emphasizes the disparate approaches of these trans-Atlantic teams and Terenzi’s “Dialogando” uses dual trombones to heighten musical discord; in mutated big-band mode, Giammarco’s thrillingly complex “Vortex Waltz”, and Vittorini’s “La Legge E Uguale Per Tutti” both speak to the limitless potential that the project was aiming for.

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Company “1983” (Honest Jon’s)

Company “1983” (Honest Jon’s)

Wonderful, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983. What’s remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of “company” as “the fact or condition of being with another or others, especially in a way that provides friendship and enjoyment.” It starts with “Landslide”, a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics), and Jamie Muir (percussion). Next up, “Seconde Choix”, with Joëlle Léandre’s close-miked prepared bass and Bailey’s acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes. The opening of “First Choice”, a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir’s metallic percussion. On “Pile Ou Face” (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker’s soprano until Léandre’s deft, springy pizzicato lures them into the playground. “JD In Paradise” is a surprisingly delicate wind quartet, with John Corbett’s trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brötzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background. Igor Stravinsky’s magnificent definition of music as the jeu de notes comes to mind listening to Bailey’s duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless — it is, as its title “Een Plezierig Stukje” simply states, a fun piece. On the closing “La Horda”, Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes, and colors.

Jon Hassell & Farafina “Flash Of The Spirits” (Tak:Til/Glitterbeat)

Jon Hassell & Farafina “Flash Of The Spirits” (Tak:Til/Glitterbeat)

Double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina’s prescient, “Fourth World” masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He’s best known as the pioneer and propagandist of “Fourth World” music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those “Fourth World” ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band — who had also collaborated with the Rolling Stones and Ryuichi Sakamoto — brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2’s Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell’s digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On “Out Pours”, the groove simmers softly, led by shifting patterns on the balafon, while Hassell’s heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on “A Vampire Dances,” pushing and probing and seeming to force electronic shrieks as a response from Hassell’s trumpet, while the keyboard creates a bed of sound that refuses to hold still. “(Like) Warriors Everywhere” takes that idea even further. Over Farafina’s surging rhythms, Hassell’s electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, “Masque”, where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

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Moondog “On The Streets Of New York” (Mississippi)

Moondog “On The Streets Of New York” (Mississippi)

Behold! A survey of Moondog’s earliest recorded works – many of them unreleased until now – through a collaboration by Mississippi Records and Lucia Records. From 1954–1962 field recordist Tony Schwartz frequently checked in with Moondog, his favorite street musician. Tony Schwartz made recordings of Moondog’s earliest compositions as they were coming into focus. Sometimes these recordings were made right on the street as Moondog busked, sometimes they were made in Schwartz’s studio, and sometimes they were made on NYC rooftops. The resulting recordings, many of which had never been released, were deposited at the Library Of Congress as part of the Tony Schwartz Collection in 2006 when Schwartz passed away, and this record was culled straight from these original tapes.

Side one kicks off with an unreleased version of Moondog’s classic composition “Why Spend The Dark Night With You?” followed by the first ever complete recording of his “Nocturne Suite,” a beautiful piece of classical music performed with members of the Royal Philharmonic. The side ends with the complete “On The Streets Of New York” 7″ EP, which was released on Mars records in 1955 and subsequently re-released by Honest Jon’s Records in 2004 on their excellent Moondog anthology. Side B features sketches of Moondog compositions never released, many with the man himself howling and chanting over his homemade percussion set.

Moondog’s music is as universal as it gets – part classical music, part Native American, part European folk, and part something completely unique. Moondog is one of the towering figures of 20th century music. This record comes with liner notes featuring never before released interviews with Moodog by Tony Schwartz and is housed in an old school “tip on” cover. All tracks fully licensed from the Library of Congress.

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Bohren & Der Club Of Gore “Patchouli Blue” (Pias)

Bohren & Der Club Of Gore “Patchouli Blue” (Pias)

25 years since ‘Gore Motel’, Bohren & Der Club of Gore hold their smoky line of doom-jazz in a sublime, haunting 10th album that once again taps into that interzone between classic Lynchian motifs and fizzing gothic undercurrents.​

The sylvan intimacy of ‘Patchouli Blue’ is a Bohren’s ineffable skill at lulling listeners into richly hypnagogic states. As ever they prize a deep sense of cool yearning that hearkens back to the slow burn atmospheres of classic film noir as much as David Lynch and Angelo Badalamenti’s soundtracks, dark ambient and the bluest jazz, plus the doom metal of Black Sabbath, Gore, and their dusty echoes in Earth. It’s surely a velvet cloak for the senses; essentially a heavily tranquilising sound, but one fraught with an existential angst that’s won them a captive audience over the years, and is fully in effect here.

As ever, ‘Patchouli Blue’ is a strictly all instrumental affair and was recorded in Cologne and Mülheim An Der Ruhr – site of all their recordings (bar ‘Mitleid Lady’) since the seminal ‘Sunset Mission’ (2000). It was composed by core members Christoph Clöser (Tenor Saxophone) and Morten Gass (Piano, Engineer, Producer) and is performed by them along with longtime member Robin Rodenburg’s plucked, stalking bass lines in a classically sulky, gratifying way bound to make your glass of single malt taste smokier, sweeter. As such, the album is really meant to be taken in one sitting, but if we’re to point out highlights, the slow rise of slinking drum machine and creeping arps of ‘Vergessen & Vorbei’ is just masterful, as is the distant, burnished, Vangelis-like synth glow and elegiac brass of their last call, ‘Meine Welt ist schön’. Basically it’s dead good for what ail’s ya.

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Ellen Fullman ‎”In The Sea” (Superior Viaduct)

Ellen Fullman ‎”In The Sea” (Superior Viaduct)

Ellen Fullman began developing The Long String Instrument in her St. Paul, Minnesota studio in 1980 and moved to Brooklyn the following year. Inspired by composer and instrument builder Harry Partch, Fullman’s large-scale work creates droning, organ-like overtones that are as unique in the world of sound as her vision of the instrument itself. Along with her 1985 debut album—appropriately titled The Long String Instrument—Fullman’s only output in the 1980s would be two self-released cassettes, In The Sea and Work For Four Players And 90 Strings, recorded in 1987 at an unfinished office tower in Austin, Texas. This double LP collection features music from both cassettes as well as a previously unreleased piece from 1988 at De Fabriek in Den Bosch, Holland. Ethereal and exquisitely paced, these rare recordings capture minimalism’s quiet radiance. Within a musical landscape that has seen the rise of contemporary drone practitioners like Ellen Arkbro and Kali Malone, Fullman is sure to find a legion of fans. Superior Viaduct is honored to present this long overdue archival release that marks a particularly vibrant period of Fullman’s pioneering and timeless work.

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Jon Gibson “Songs & Melodies, 1973-1977” (Superior Viaduct)

Jon Gibson “Songs & Melodies, 1973-1977” (Superior Viaduct)

Since the mid-1960s, Jon Gibson has played a key role in the development of American avant-garde music. As a versatile reed player, he has performed with everyone from Steve Reich and Philip Glass to Terry Riley and La Monte Young. In the 1970s, Gibson would emerge as a minimalist composer in his own right and release two exceptional albums, Visitations and Two Solo Pieces, on Glass’ Chatham Square imprint. Songs & Melodies brings together recordings from 1973 to 1977 (mostly previously unreleased), featuring prominent figures in New York’s scene including Arthur Russell, Barbara Benary and Julius Eastman. This double LP collection showcases the breadth of Gibson’s expressive range—from introspective piano meditations to cerebral ensemble works—and the subtlety of his radical compositional techniques. The front cover artwork, a hand-drawn diagram by Gibson, originally appeared in the program for a March 1974 concert at Washington Square Church in Greenwich Village. While this concert was not the first to feature the composer exclusively, it would be a pivotal event in Gibson’s early career as a composer. Superior Viaduct is honored to present this long overdue archival release that not only documents Gibson’s important work, but also a crucial period in NYC musical history.

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Rebecca Foon “Waxing Moon” (Constellation)

Rebecca Foon “Waxing Moon” (Constellation)

Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled Waxing Moon. While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as cofounder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon’s political and artistic life for many years now, and Waxing Moon finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.

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Raspberry Bulbs “Before the Age Of Mirrors” (Relapse)

Raspberry Bulbs “Before the Age Of Mirrors” (Relapse)

New York’s RASPBERRY BULBS (featuring members of BONE AWL and RORSCHACH,) make their Relapse Records debut with their highly anticipated new album, Before the Age of Mirrors. Forever defying the conventions of underground music, RASPBERRY BULBS continue to push the envelope via their subversive take on occult Punk and Black Metal. Through maniacal lyricism, raw guitar snarls channeled through gritty, 4 track recordings, and a wall of distortion, RASPBERRY BULBS suffocate the listener every step of the way.

RASPBERRY BULBS emphasize the volatile, confrontational attitudes of Punk with the discordant sounds of Lo-Fi Black Metal and inspirational fever dreams found only in weird fiction. In the band’s own words, “parts paranoia, anger, and insane humor to satisfy the most cynical minds, Before the Age of Mirrors was crafted for the times where we desperately look for a way forward and we seem, at this dazzling stage, almost prepared to step through the mirror.”

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Learn To Talk

Learn To Talk

ReR Vinyl present a reissue of Skeleton Crew’s Learn to Talk, originally released in 1984. A true avant-rock classic. Skeleton Crew were the maverick duo of Ex-Henry Cow guitarist Fred Frith and the great late cellist Tom Cora. Formed during one of Frith’s early American residencies, Skeleton Crew was a legendary two-man crew who somehow — in real time, managed to play all their instruments, cello, bass, electric guitar, violin, vocals — as well as, drum parts dislocated between the two of them. No one sounded like Skeleton Crew, ever. An unprecedented and tight duo coalition that produced some of the best music of the decade. Originally released in 1984, Learn to Talk consists of a highly integrated mixture of art-rock, punk energy, tape manipulation, and re-imagined folk elements. A catalog of invention that remains breathtaking today. Fully re-mastered and including a printed inner sleeve with previously unpublished text by Fred Frith in memory of Tom Cora on the 20th anniversary of his premature passing.

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Desperate Straights

Desperate Straights

ReR Vinyl present a reissue of Slapp Happy and Henry Cow’s Desperate Straights, originally released in 1975. Another great chapter in the Henry Cow vinyl reissue series! Desperate Straights was the first result of the historical meeting between Slapp Happy, the German/English avant-pop band, and the apparently incompatible Henry Cow. Recorded at Virgin Record’s Manor Studios in 1974 and properly remastered by Bob Drake, Desperate Straights stands as a real piece of art from another time. A full set of great songs, including gems like “Bad Alchemy” and “Apes in Capes”, arranged and performed by an amazing collective featuring Dagmar Krause’s unique voice, Peter Blegvad and Anthony Moore’s eccentric pop genius and the core quartet of Cow: Fred Frith, Tim Hodgkinson, John Greaves, and Chris Cutler, plus a bunch of very special guests, among them Nick Evans and Mongezi Feza (Brotherhood of Breath), Mont Campbell (Egg), and Pierre Moerlen (Gong). Desperate Straights can be recognized as one of the definitive avant-pop albums of the seventies. Housed in a beautiful reproduction of the original jacket designed by Peter Blegvad.

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Hepatopolitika

Hepatopolitika

Japanese sound artist Kimihide Kusafuka, better known as K2, originally came onto the scene in 1981, in order to explore the possibility of noise. The activities at that time were only the creation of cassette works and actions in the world of mail art with no live performance. A few years later, he suspended his music activities to concentrate on his studies and returned in 1993 after having just graduated as a pathologist. K2 perceives no alteration between the act of making noise and the act of science and he practices a kind of alchemy through his noise. Hepatopolitika, an ultra-rare work released in 1994 on transparent vinyl by German label Praxis Dr. Bearmann in only 125 numbered copies, represents in an exemplary way the idea just expressed. He sets one’s sights of metamorphosize himself with both the awareness he gets from his scientific experiments and the emotional strength he obtains from performing and listening to noise. The work is essentially a cut-ups noise oriented in its most exhausting form and in its rawest form. The sound is exceptionally lo-fi; the actual aggression of sound deconstruction in both sides leaves you astonished and consists in amazing assemblage of crashing, creaking, and scraping sounds made with pieces of junk metal plus concrete music and voice, edited in a jarring, unpredictable style. 140 gram black vinyl; black inner sleeve in a deluxe black cardboard sleeve with logo in silver silk screen plus obi that include art collage from original vinyl label; Edition of 199.

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Skeleton Crew “Learn To Talk” (Red Vinyl)

Skeleton Crew “Learn To Talk” (Red Vinyl)

ReR Vinyl present a reissue of Skeleton Crew’s Learn to Talk, originally released in 1984. A true avant-rock classic. Skeleton Crew were the maverick duo of Ex-Henry Cow guitarist Fred Frith and the great late cellist Tom Cora. Formed during one of Frith’s early American residencies, Skeleton Crew was a legendary two-man crew who somehow — in real time, managed to play all their instruments, cello, bass, electric guitar, violin, vocals — as well as, drum parts dislocated between the two of them. No one sounded like Skeleton Crew, ever. An unprecedented and tight duo coalition that produced some of the best music of the decade. Originally released in 1984, Learn to Talk consists of a highly integrated mixture of art-rock, punk energy, tape manipulation, and re-imagined folk elements. A catalog of invention that remains breathtaking today. Fully re-mastered and including a printed inner sleeve with previously unpublished text by Fred Frith in memory of Tom Cora on the 20th anniversary of his premature passing.

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Slapp Happy/Henry Cow “Desperate Straights” (Red Vinyl)

Slapp Happy/Henry Cow “Desperate Straights” (Red Vinyl)

ReR Vinyl present a reissue of Slapp Happy and Henry Cow’s Desperate Straights, originally released in 1975. Another great chapter in the Henry Cow vinyl reissue series! Desperate Straights was the first result of the historical meeting between Slapp Happy, the German/English avant-pop band, and the apparently incompatible Henry Cow. Recorded at Virgin Record’s Manor Studios in 1974 and properly remastered by Bob Drake, Desperate Straights stands as a real piece of art from another time. A full set of great songs, including gems like “Bad Alchemy” and “Apes in Capes”, arranged and performed by an amazing collective featuring Dagmar Krause’s unique voice, Peter Blegvad and Anthony Moore’s eccentric pop genius and the core quartet of Cow: Fred Frith, Tim Hodgkinson, John Greaves, and Chris Cutler, plus a bunch of very special guests, among them Nick Evans and Mongezi Feza (Brotherhood of Breath), Mont Campbell (Egg), and Pierre Moerlen (Gong). Desperate Straights can be recognized as one of the definitive avant-pop albums of the seventies. Housed in a beautiful reproduction of the original jacket designed by Peter Blegvad.

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K2 “Hepatopolitika” (Urashima)

K2 “Hepatopolitika” (Urashima)

Japanese sound artist Kimihide Kusafuka, better known as K2, originally came onto the scene in 1981, in order to explore the possibility of noise. The activities at that time were only the creation of cassette works and actions in the world of mail art with no live performance. A few years later, he suspended his music activities to concentrate on his studies and returned in 1993 after having just graduated as a pathologist. K2 perceives no alteration between the act of making noise and the act of science and he practices a kind of alchemy through his noise. Hepatopolitika, an ultra-rare work released in 1994 on transparent vinyl by German label Praxis Dr. Bearmann in only 125 numbered copies, represents in an exemplary way the idea just expressed. He sets one’s sights of metamorphosize himself with both the awareness he gets from his scientific experiments and the emotional strength he obtains from performing and listening to noise. The work is essentially a cut-ups noise oriented in its most exhausting form and in its rawest form. The sound is exceptionally lo-fi; the actual aggression of sound deconstruction in both sides leaves you astonished and consists in amazing assemblage of crashing, creaking, and scraping sounds made with pieces of junk metal plus concrete music and voice, edited in a jarring, unpredictable style. 140 gram black vinyl; black inner sleeve in a deluxe black cardboard sleeve with logo in silver silk screen plus obi that include art collage from original vinyl label; Edition of 199.

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Lightning Bolt “Lightning Bolt” (Thrill Jockey)

Lightning Bolt “Lightning Bolt” (Thrill Jockey)

Long sought after, this record has not been available new on vinyl since it’s first pressing two decades ago. Released as a double LP, the second LP features songs recorded at the same time but never released before on vinyl. Packaged in a silkscreen wrap using the original design by Brain Chippendale, printed by Crosshair. Truly, a must-have for any Lightning Bolt fan.

Since their first moment, it seems like they’ve been as electric as their name suggests. Lightning Bolt, their first album, captures that energy in a raw form. Famously lo-fi, this is the album that’s been described as most feeling like being at one of their shows. It’s difficult to listen and not want to jump with the crowd it feels like must be huddled around the amp producing an incredible wave of noise, astonishingly coming from just two musicians. You can hear the threads of their later work; use of repetition, a sense of grinding and building, noise melting to guitar solos. This album is loud, and the riffs repeated become mesmerizing as they warp slowly thru the songs.

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OOIOO “Nijmusi” (Thrill Jockey)

OOIOO “Nijmusi” (Thrill Jockey)

Sounds created for no reason. Sounds that come and go, and disappear into the air like a scent, as soon as they materialize. Atonal phrases that hold the meaning of words that existed before the advent of language. The wonders of a vortex pulsing with life. Just as a new discovery is actually a new way of looking to see what has always been there, OOIOO, seemingly from the core of their being, created a world of sound made up of parts well known that is strikingly precise and intensely original. After a six year hiatus, OOIOO has created a new album that goes back to the roots of being a four-piece band. The music shows the full spectrum of the unique sound they have crafted throughout the years, which can only be described as “OOIOO”.

It might come as a surprise that nijimusi was recorded mainly using a conventional rock ensemble of two guitars, bass, and drums. OOIOO viewed their instruments simply as “objects that make sounds”, and took a primitive and basic approach to creating the music. The drum tones fluctuate powerfully through the air, while sounding as if they are being observed under a microscope. Bass notes and electronic bursts are so dense that they sound like they’ve been vacuum-sealed. The arrangement of the tones seem to be almost ancient, transcending the notion of a musical ensemble, suggesting the connectivity and oneness that is inherent in all living creatures.

Founded in 1995 by legendary percussionist/guitarist/vocalist YoshimiO, OOIOO’s members came together as musicians who move freely between the audible and inaudible, rhythm and non-rhythm, noise and silence. The music they create is a collection of moments and essences of their favorite sounds, captured as they were created before returning into the ether. In 2016, drummer MISHINA joined the band, allowing more freedom in their rhythmic approach and overall sound. Just as each cell in the body consists of a microcosm of its own, the vibrations of each of the members resonate together to create a new life form, a process reflected in nijimusi.

nijimusi can be considered music, but is also a work of art that stimulates the sense of touch and smell, while being atmospheric and ethereal at the same time. If music is an art form based on the sense of hearing and the concept of time, this album may be deviating from the conventional definition of music. The work is a reflection of the sounds resonating from OOIOO while as they were completely present in the moment. The sounds are like the cries emanating from a creature called OOIOO, proof that it is a living, breathing being. Experience the sounds of OOIOO that can only be heard in the here and now.

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Nils Frahm & Anne Muller “7fingers” (Erased Tapes)

Nils Frahm & Anne Muller “7fingers” (Erased Tapes)

Fans of the Berlin based Nils Frahm are by now familiar with his beguiling live shows where more often than not fellow touring artists are encouraged to join Frahm on stage ‘ the likes of Rachel Grimes, Rob Lowe of Balmorhea as well as label colleagues Peter Broderick and Ólafur Arnalds have all obliged with fascinating results. It will come as no surprise then that Nils Frahm, an accomplished composer and producer who signed to Erased Tapes in 2009, has extended his collaborative live musings to encompass the recording studio, working for the first time with noted cellist and fellow Berliner Anne Müller to produce 7fingers. With their first collective release Frahm and Müller have built a world where modern classical and electronica collide creating an ‘intoxicating and delicious’ collection of songs. Primarily a pianist Nils Frahm provides evidence with 7fingers that he can effortlessly turn electric throwing in loops, samples and glitches to accompany and showcase Müller on cello. Anne Müller, a renowned musician noted for her work with the Wolf-Ferrari-Ensemble, Phillip Boa and recent tours with Agnes Obel, proves an amp musical partner for Frahm. As the recognition continues to grow for Nils Frahm’s previous solo piano works Wintermusik and The Bells, 2011 sees a new side to this young talent as he embarks on a detour into strings, symphonies and glitch beats alongside the estimable Anne Müller.
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doon kanda “Labyrinth” (Hyperdub)

doon kanda “Labyrinth” (Hyperdub)

Jesse Kanda is a visual artist and musician, widely known for his modern, gothic surrealist art, his work as an art director and videographer, and in recent years his own musical output as Doon Kanda. We are very excited for his transition into music; if there were a sound to his beautiful and otherworldly art, this is it in its pure form.

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