{"title":"august 1, 2022","description":"","products":[{"product_id":"wright-jack-free-life-singing","title":"WRIGHT, JACK - Free Life, Singing","description":"\u003ch2 style=\"text-align: center;\"\u003e\u003cspan face=\"Arial, Helvetica, sans-serif\" style=\"font-family: Arial, Helvetica, sans-serif;\"\u003e\u003cstrong\u003e\u003ca href=\"https:\/\/www.fusetronsound.com\/products\/3lp-bundle\"\u003e3LP BUNDLE DEAL\u003c\/a\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003ch2 style=\"text-align: center;\"\u003e\n\u003cspan face=\"Arial, Helvetica, sans-serif\"\u003e BUY THIS RECORD + PATE,DAVID – Soliloquies + IDIO,SAVANT– Shakers In A Tantrum Landscape \u003c\/span\u003e as a bundle\u003c\/h2\u003e\n\u003cp\u003e\u003cspan face=\"Arial, Helvetica, sans-serif\" style=\"font-family: Arial, Helvetica, sans-serif;\"\u003eOriginal sealed LP copies of Wright's first self released 1982 release, featuring long-active, under-the-radar improvisor Wright, on alto and piano, and Marv Frank on drums. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Described thirty years ago as an 'undergrounder by design,' Jack Wright is a veteran saxophone improviser based mainly in Philadelphia and living in Easton PA. In 1979, after an academic career teaching at Temple University (European History) and activist politics, he returned to the instrument of his youth. Almost immediately he discovered free improv, virtually unknown at the time and still obscure. He is one of the few who have played this exclusively since then, one of the originals of the 80s era. He plays mostly on tour through the US and Europe in search of interesting partners and playing situations. Now at 78 he is still the \"Johnny Appleseed of Free Improvisation,\" as the late guitarist Davey Williams called him back in the 80s, continuing to inspire musicians, playing and organizing sessions and gigs with visiting and resident players old and new. His Spring Garden Music House has been around since 1977, for the past sixteen years housing only improvisers and providing space for sessions.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Arial, Helvetica, sans-serif\" style=\"font-family: Arial, Helvetica, sans-serif;\"\u003eHe has been able to avoid the standard career aimed at visibility and prestige, seeing it as a hindrance to musical growth. The partners he's preferred over the years have also been mostly unknown to the music press, and too numerous to list here..\". - Spring Garden Music.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan face=\"Arial, Helvetica, sans-serif\" style=\"font-family: Arial, Helvetica, sans-serif;\"\u003eWright has released music on Last Visible Dog, Public Eyesore, Bug Incision and Relative Pitch and collaborated with Reuben Radding, Nate Wooley, Jacob Felix Heule, Matt Samolis, Bhob Rainey and Fred Lonberg-Holm among many others.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003eHere is his first recorded live performance from 1988:\u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/rnJRVcza6Lw\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Spring Garden Music","offers":[{"title":"LP","offer_id":51863235591,"sku":"2664-SPRING GARDEN MUSIC","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FREELIFE_dragged.jpg?v=1651683042"},{"product_id":"ashley-robert-string-quartet-describing-the-motions-of-large-real-bodies-how-can-i-tell-the-difference","title":"ASHLEY, ROBERT - String Quartet Describing the Motions of Large Real Bodies\/How Can I Tell The Difference","description":"\u003cp\u003e2000 release. \"String Quartet Describing the Motions of Large Real Bodies\" was composed as the potential orchestra for an opera-based on the text of In Sara, Mencken, Christ and Beethoven There Were Men And Women.\" When the work was composed in 1972, it was clear that a huge change in electronic instrumentation was just beginning, a change that would involve computers and sound-producing devices as yet undreamed-of. The piece consists of an electronic orchestra of 42 sound-producing modules. The technique of the string quartet is for each player to make a stream of intentional but unpremeditated (that is, random) very short sounds, pulses, somewhat like pitched clicks, but with the formats and overtones of a string instrument (this idea came from the rumor of a performance by Takehisa Kosugi). These sounds go directly to a set of four loudspeakers, but at the same time they are delayed electronically, and those delayed sounds are sent to a series of seven networks of sound-producing modules activated by the very brief coincidence of an original sound and a delayed sound. The operation of the networks as a result of the coincidence can, in the theoretical world of electronics, produce almost any sound imaginable. In the performance recorded here, few of the technical resources were available. Now, of course, there are computer \"patching\" programs that would make the job possible, but complicated. Such are dreams, when technology promises a \"new world.\" Sort of like 1492. The hills and mountains separating San Francisco Bay from the Pacific Ocean are filled with a labyrinth of endless concrete tunnels constructed by the military in the 1930s in anticipation of World War II, to defend San Francisco Bay from invasion. At the entrance of every tunnel is a huge steel door. When the door is slammed, the reverberation through the labyrinth seems to last forever. It is one of the wonders of the world. Naturally, Robert Ashley tried to record this phenomenon. On the occasion of the recording, just as the reverberation seemed to die away, a motorcyclist, miles away in the tunnels, started coming closer. The effect, which took minutes, was as if the reverberation had been reversed, as if the tape recording was running backwards. A perfect case of coincidence as illusion. In Version One of \"How Can I Tell the Difference?\" the composer tried to create the drama of the recording of the reverberation and the motorcyclist, using the \"String Quartet\" as an \"orchestra,\" in the way it was intended to be used in the opera. In Version Two of \"How Can I Tell the Difference?\" a solo string player using the same playing technique as in the \"String Quartet\" opens and closes the sound \"gates\" to electronic reverberations and pre-recorded sounds running continuously with the performance. A digipack CD edition including an 8-page booklet with scores and liner notes written by Robert Ashley.\" - Alga Marghen.\u003c\/p\u003e","brand":"Alga Marghen","offers":[{"title":"CD","offer_id":51949749831,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-1404160-1292720383_jpeg_1cb3952b-619e-4aa8-bf4b-7459a7b8c437.jpg?v=1571718168"},{"product_id":"reformartwest-for-sepp-selections-from-the-edgar-allan-poe-suite","title":"REFORMARTWEST - For Sepp (Selections from the Edgar Allan Poe Suite)","description":"\u003cp\u003eOver the course of five decades, the legendary Austrian free jazz collective Reform Art Unit (and their offshoot groups) have collaborated with countless musicians, including Don Cherry, Carla Bley, Evan Parker, and Jim Pepper. Documented collaborations with free jazz notables include Impressions (Kovariks Musikothek, 1978) with Anthony Braxton and Clifford Thornton; Subway Performances (Granit, 1994) and Illumination (InRespect, 1995) with Sunny Murray; and With Milo Fine (Granit, 1999). Milo Fines lengthy resume includes numerous records as leader of his own group (the Milo Fine Free Jazz Ensemble) as well as collaborations with Joe McPhee (MFG in Minnesota; Hat Hut, 1978, \u0026amp; Old Eyes; Hat Hut, 1979) and duo encounters with Derek Bailey (Scale Points on the Fever Curve; Emanem, 2003) and Anthony Braxton (Shadow Company; Emanem, 2004). In May of 2015, Fine fulfilled a personal ambition by hosting the first North American appearances of Reform Art Unit founding members Fritz Novotny and Sepp Mitterbauer. Three nights of extraordinary and intimate concerts ensued at Minneapolis Studio Toile dAngles. This limited edition LP was culled by Neros Neptune from over three hours of material, and consists of three pieces featuring two sextets and one nonet. Joining the core members of reformARTwest (Novotny: soprano sax\/flutes\/percussion; Mitterbauer: trumpet\/percussion; Fine: drum set\/piano\/clarinets) are Elaine Evans, Daniel Furuta, Benjamin J Mansavage Klein, Davu Seru, Charles Gillett and Paul Metzger. For Sepp is dedicated to the living memory of Sepp Mitterbauer, who died on December 9th of 2015. Mastered by Carl Saff. Housed in a beautiful, tip-on jacket with full color artwork. Edition of 300. - Neros Neptune.\u003c\/p\u003e","brand":"Neros Neptune","offers":[{"title":"LP","offer_id":52009639431,"sku":"18388-NEROS NEPTUNE","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/NN032LP_CU.jpg?v=1658970995"},{"product_id":"feldman-morton-for-bunita-marcus","title":"FELDMAN, MORTON - For Bunita Marcus","description":"\u003cp\u003e2014 release. Lenio Liatsou performs Morton Feldmans composition \"For Bunita Marcus\". In the 1980s, Morton Feldman composed two large-sized pieces for his favorite instrument, the piano. Both pieces, \"Triadic Memories\" (1981) and \"For Bunita Marcus\" (1985), clock in at about 90 minutes. Both compositions are excellent examples of the group of works that they belong to. \"Triadic Memories\" demonstrates the complexity and tonal opulence of Feldmans pattern compositions from 1977 through 1983, whereas \"For Bunita Marcus\" shows the stripped-down, almost dismissive structures of his last works created from 1984 to 1987. Feldman himself described \"For Bunita Marcus\" as a piece in which he \"seriously grappled with the idea of meter. I was very interested in this whole problem of meter and the bar line. I was so interested that I started to write a piece in which I took meter very seriously. I saw that nobody knew how to notate. Sometimes, Stravinsky! In my notation Im close to Stravinsky; that is, meter and rhythm actually being simultaneous and also being more grid-oriented, a balance between rhythm and meter. For Bunita Marcus is essentially made up of just three-eight, five-sixteen and two-two. Sometimes the two-two would have musical content, which was at the end of the piece. Sometimes the two-two acted as silences, either on the left side or the right side or in the middle of the three-eight and the five-sixteen, and I was using meter as a construction, not rhythm but meter and the time, the length of what is going on.\" - Excerpt from liner notes by Sebastian Claren.\u003c\/p\u003e","brand":"God","offers":[{"title":"Double LP","offer_id":52015102727,"sku":"19165-GOD","price":37.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/R-6421796-1418819855-8679_jpeg.jpg?v=1571718398"},{"product_id":"abrams-joshua-and-natural-information-society-mandatory-reality","title":"ABRAMS, JOSHUA AND NATURAL INFORMATION SOCIETY - Mandatory Reality","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eLimited restock, on clear vinyl. \u003c\/span\u003eLPs pressed on premium audiophile-quality vinyl at RTI from Kevin Gray Lacquers; Presented in a textured gatefold Stoughton \"laserdisc\" jacket with a cover painting by Lisa Alvarado. Jackets, retro-audiophile sleeves and record labels hand-screen printed by Alan Sherry at Siwa Studios, Northern New Mexico. \"\u003ci\u003eMandatory Reality\u003c\/i\u003e, the new album by Joshua Abrams and Natural Information Society, is here. Setting aside (for the moment) the electric instrumentation of \u003ci\u003eSimultonality\u003c\/i\u003e (GB 048CD\/MTE 068LP, 2017) and \u003ci\u003eMagnetoception\u003c\/i\u003e (MTE 063-64LP, 2015), Joshua Abrams conceived \u003ci\u003eMandatory Reality\u003c\/i\u003e for an eight-piece acoustic manifestation of NIS, consisting of himself on guimbri, Lisa Alvarado on harmonium and gongs, Mikel Avery on tam-tam and gongs, Ben Boye on autoharp and piano, Hamid Drake on tabla and tar, Ben Lamar Gay on cornet, Nick Mazzarella on alto saxophone, and Jason Stein on bass clarinet. A double album, \u003ci\u003eMandatory Reality\u003c\/i\u003e is comprised largely of two performances, both Joshua Abrams compositions, 24- and 40-minutes in length. While new to the band's records, long duration pieces are familiar to those who've heard Joshua Abram and NIS in concert in recent years, where elaboration on a single composition for an hour or more is not unusual. Gradual tempos dominate \u003ci\u003eMandatory Reality\u003c\/i\u003e. Recorded two months before the 2017 solar eclipse, \u003ci\u003eMandatory Reality\u003c\/i\u003e is the sound of Joshua Abrams and NIS taking its time. Merging methodical compositions with sonically voluptuous orchestration, Abrams heightens the immersive and hypnotic qualities Abram and NIS music is known for, taking the band and the listener deep into a collective meditative space. A grand realization of long-form psychedelic music, \u003ci\u003eMandatory Reality\u003c\/i\u003e is a dispatch from a sound world that is increasingly unique to itself. All performances on \u003ci\u003eMandatory Reality\u003c\/i\u003e are full takes recorded live to tape by the full ensemble, magnificently captured by Greg Norman at electrical audio, Chicago -- the first true \"audiophile\" recording of Joshua Abrams and NIS. Mastered by Helge Sten at Audio Virus, Oslo.\" - Eremite.\u003c\/div\u003e","brand":"Eremite","offers":[{"title":"Double LP","offer_id":14986326507583,"sku":"","price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MTE07071LP_CU.jpg?v=1571718607"},{"product_id":"muslimgauze-in-search-of-the-abraham-mosque-muslimgauze-preservation-society-canada-cd","title":"MUSLIMGAUZE - In Search Of The Abraham Mosque","description":"\u003cp\u003e\"Warehouse find, last copies. \"Listening to Bryn playing was very strange. Hearing him breathing in between the beats and putting his headphones down at the end and getting up and walking out of the room, that was eerie. But again, it was nice at the same time.\" \u003cbr\u003e\n \"Though it was December in the Manchester recording studio and the room properly heated, nevertheless a shiver went down John Delf's spine when the first tentative taps scurried across the surface of the hand drum, followed by a melodic drizzle of rhythms that flowed from the studio monitors. The source was analog reels of his recording sessions with Bryn Jones from 1993 to 1998. Not commonly known (and elaborated in detail in the forthcoming book, Muslimgauze: Chasing the Shadow of Bryn Jones) is that more than an audio engineer, Delf in a sense could be considered a part of Muslimgauze and that some musical stylings can be attributed to his involvement. When Jones hired Delf at the Cutting Rooms Studio in the Abraham Moss Centre in Manchester (credited as the Abraham Mosque on Muslimgauze releases), he was educated on how to use the recording studio as an instrument. They took turns at the mixing desk and produced such pristine recordings as Vote Hezbollah, Hamas Arc, and Veiled Sisters. Sessions were booked once a month, and lasted between four to eight hours each time wherein numerous versions of each song was composed. Jones distilled tracks from these sessions onto masters to submit to labels. Unused portions remained and Jones later revisited these bits to release later or rework. Late in 1998 Jones stopped booking the studio and it was not until mid-1999 that someone finally took the time to explain to Delf why. Delf kept the reels in storage for well over a decade until he was approached by The Muslimgauze Preservation Society in late 2010. Since Jones' passing, Delf further honed his audio engineering craft to greater, refined levels as he worked for marquee bands while building a studio to rival the Cutting Rooms. Says Delf, 'The reels were always something that I was looking forward to having a go at (once more). It was quite exciting to see whether the tapes would actually work or not usable at all. When I put the first tape on it was 'oh no, it is a complete disaster. Not working! What are we going to do?' But when we put the second tape on we thought, 'oh wow! It's all there!' The sonic quality was still there and it was still really bright and full. It instantly returned me to the sessions that we did. Hearing the beats, then the excitement returned. Once I got the reels going, then I realized, 'hang on, there's more here.' It was an eerie and joyful experience. We (Bryn and myself) worked together for a very long time and it went on for 6 years, once a month for a few hours and so it was a long-term relationship. It was nice to go back and hear it again and to know that there are still people, years after he is gone, interested and still want to hear it.' In Search of the Abraham Mosque has a two-fold meaning; one is a search for the studio where legendary Muslimgauze albums were recorded. The second is a reference to the Abraham Mosque in occupied Jerusalem, the tomb of the patriarchs where prophet Abraham is believed to be buried. On this disc, a musical narrative of this journey unfurls over 67 minutes starting at the fringes of Egypt amidst hip hop rhythms, then wanders off into the desert towards the famed Abraham Mosque. Bryn Jones' hand drumming is intimately showcased while cinematic atmospherics and cinematic ambience compliment his organic rhythms. Melodies, both subtle and overt, float in and out of the narrative much like the myriad of voices that converse and shout in Arabic dialects alongside urban and nature sounds, not unlike a radio play. Some moments are serene, whereas others wander through a dense sandstorm goaded by powerful waves of sub bass that instill a growing sense of fervency in the search. Material here will be familiar to Muslimgauze aficionados, but alternate versions and brought in a new light with surpassing audio quality. The narratives continues to wander through dusty Arab villages and refugee camps, the Islamic call to prayer discernible, implying the Abraham Mosque at last found and hints a second part of the narrative, Return to the Abraham Mosque.  Listeners are encouraged to play this disc in a setting with minimal distractions to fully appreciate the artistry and technological craft that went into this release. Packaged with papyrus covers hand printed in liberated Egypt, with fold-open full-color insert, glossy sticker and color-surface CD. Turn out the lights, turn on your stereo or headphones, and prepare a visit from the restless spirit of Muslimgauze. This is TMPS 05, part one of a multi-part series.\" - Muslimgauze Preservation Society.\u003c\/p\u003e","brand":"Muslimgauze Preservation Society","offers":[{"title":"CD","offer_id":31575438655551,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/TMPS005CD_CU_9c59c392-494e-423d-a668-dde6d73c8376.jpg?v=1659011409"},{"product_id":"cairo-free-jazz-ensemble-heliopolis-holidays-records-italy-lp","title":"CAIRO FREE JAZZ ENSEMBLE - Heliopolis","description":"\"Holiday Records present the first ever authorized reissue Cairo Free Jazz Ensemble's Heliopolis, originally released in 1970. Released under license from the artist. One of the great projects in Egyptian jazz, the Cairo Free Jazz Ensemble was formed by Salah Ragab and Hartmut Geerken as an avant-garde offshoot of The Cairo Jazz Band, the first jazz big band in the country. Formed in 1968 when Ragab was appointed chief of Egypt's Military Department of Music and had at his disposal a vast staff of musicians (almost three thousand!), an entire military building, and a full range collection of musical instruments. When encountering this recording, issued in 1970, the deep resonance found between the ensemble and its American counterparts becomes startlingly clear. Heliopolis is a stunning blend of big band spiritual jazz, the music of the Middle East, and the fire and energy of free jazz, unveiling a deep creative resonance with the contemporaneous efforts of Pharaoh Sanders, Phil Cohran, and of course Sun Ra, combining jazz instrumentation and musical style with indigenous melodies and instruments to create a musical object with few parallels. The album is a throbbing, squealing, wild journey through the creative heights of sound channeling swirling, focused artistry that taps future and past in a single blow. Copies of the original pressing are between the rarest and most sought-after records in canon of recorded jazz.\" - Holidays Records .","brand":"Holidays","offers":[{"title":"LP","offer_id":32560418586687,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOL124LP_CU.jpg?v=1591965417"},{"product_id":"mikami-kan-i-m-the-only-one-around-black-editions-lp","title":"MIKAMI, KAN - I'm the Only One Around","description":"\"Black Editions present the first ever vinyl edition of Kan Mikami's I'm the Only One Around. For 50 years, Kan Mikami has stood as a master of the Japanese blues and outsider folk. His unmistakable, powerfully evocative voice and surrealistic poetry reveal a gritty, transgressive life on the margins shot through with evocations of sex and violence, religion and romance. Released in 1991, I'm the Only One Around was Mikami's first album with Tokyo's legendary P.S.F. label and heralded an artistic renaissance. It marked the beginning of an incredibly productive and wildly creative era for Mikami that extends to the present day. This opening salvo presents the essential core of Mikami's music; with nothing but his voice and a stripped-down electric guitar the album is a powerful, effortlessly emotional statement filled with moments of both brutal passion and gentle revelation. It is unrestrained, direct, brutally honest. It embodies Mikami's philosophy: \"If you're going to make music, stake your life on it -- it's worth it. Making music is an intensely human act.\" In the newly translated notes to the album, Hiroyuki Itsuki, one of Japan's most renowned writers perhaps put it best: \"What erupts here is all the fury and grief of Jōmon Man (the prehistoric people of the Japanese archipelago), lobbed into the middle of a 1990s city. Kan Mikami is unchanging, yet definitely in motion. He advances not forwards, but backwards. Not a retreat, rather he consciously progresses backwards. At the final destination for his full-steam astern poésie lies a massive, gaping black hole, exuding a dazzling, black light. This is the image evoked by the world of Kan Mikami that you can hear on this album.\" Mikami would go on to release 15 solo albums with P.S.F. as well as numerous collaborative efforts with other giants of the Japanese underground including Motoharu Yoshizawa, Masayoshi Urabe, and Keiji Haino, with whom, along with Toshiaki Ishizuka he formed the group Vajra. Features lyrics translated by Drew Stroud and newly translated notes by Alan Cummings. Remastered and cut to vinyl at Elysian Masters Los Angeles, pressed by RTI, packaged in heavy Stoughton tip-on jackets with insert featuring textured paper, gold foil stamping and metallic inks.\" - Black Editions.","brand":"Black Editions","offers":[{"title":"LP","offer_id":37952402391229,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BE007LP_CU_ac524436-bffe-42fe-ba19-5c68cea168b0.jpg?v=1611274711"},{"product_id":"black-unity-trio-al-fatihah-2021-repress-gotta-groove-records-lp","title":"BLACK UNITY TRIO - Al-Fatihah (2021 Repress)","description":"2021 second edition. \"Black Unity Trio - Al Fatihah quite possibly was the first independently released free jazz record ever. Originating in Oberlin, Ohio as the Black Unity Quartet, and ultimately becoming the Trio (Abdul Wadud, Yusuf Mumin, and Hasan Al Hut), the group recorded Al Fatihah in December 24, 1968 at Agency Recording Studio (which was located upstairs in the building housing the legendary Agora Theatre in Cleveland, Ohio). The album ultimately was released in May 1969 in an edition of 500 copies. The album has been legendary among collectors, producers, and DJs in the past several decades, and has been sampled numerous times on other releases. Much mystery surrounded the origins of the album, as well as the status of the musicians, until 2020 when The Wire published an interview with Hasan. Many underground jazz purists know about the intense, though relatively short-lived hotbed of avant-garde jazz in Cleveland, Ohio during the mid-to-late 1960s. Clubs such as Leo's Casino, Jazz Temple, The Doan Club, Le Cave and a few private clubs saw many young avant-garde jazz acts during this time period. I first learned of Black Unity Trio when seeking out tapes of Albert Ayler playing at Le Cave. From that point forward, I had a mission to seek out the members and see if they would be interested in making a vinyl reissue of Al Fatihah. Most of my efforts ran into dead ends, and it did not take very long to learn that the members, perhaps, were content with letting the record fall into the annals of crate digging history. Then in 2019, I received a phone call from someone referring to himself as 'Ron'; who wanted to bring some tapes by the pressing plant. Whenever I get a call on the subject of tapes, my first question is 'how old are the tapes?'. The caller replied 'late 1960's''. Of course, this perked my interest even more, so I asked what sort of material was on the tapes, to which he replied 'Oh, spiritual jazz''. 'Really?'; I replied, even more interested than ever - particularly since the caller id showed a 216 area code phone number. Then he proceeded to say 'it's called the Black Unity Trio''. I about dropped the phone; 'Are you serious, I have been trying to get a hold of you guys for a year!' I replied. Ron (Abdul) was surprised by that statement. But, it led to months of additional conversations with both he and Yusuf about how to get the record back into the world, and eventually I was introduced to Hasan as well. After many phone conferences, we were able to come to an agreement to reissue this seminal free jazz record via Gotta Groove Records' OHWax series. Yusuf personally brought the original 1968 master tapes to Cleveland in early 2020, and we have been working on the audio restoration and package details ever since.  We have spared no expense in making this reissue. Our friend Grammy-Award recipient Paul Blakemore's restoration and remastering work cleaned random ticks from the original source, as well as greatly improved the balance to bring out some of the instrument subtleties which were barely, if at all audible, in the original pressing. We also used Gotta Groove's proprietary GrooveCoated stamper plating technology -- This involves an additional electroforming step in the creation of the metal stampers used to press the grooves into the records. GrooveCoated stampers have a lubricious surface which helps high frequencies in particular to be held more intact during the course of manufacturing, verses traditional stampers.  This is a record I am truly proud and excited to be working on, and I look forward to a new generation of vinyl listeners to have access to it.\" --Matt Earley, Executive Producer. The musicians of Black Unity Trio are paid at least 70% of the profits from this release by Gotta Groove Records, Inc.\" - Gotta Groove Records.","brand":"Gotta Groove","offers":[{"title":"LP","offer_id":39550996250813,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/GGR2021LP_CU_91a82abd-eb20-40f2-8a69-d206abeb14c1.jpg?v=1621774134"},{"product_id":"muslimgauze-and-the-rootsman-amahar-via-parigi-france-2lp","title":"MUSLIMGAUZE AND THE ROOTSMAN - Amahar","description":"\u003cp\u003e\"First vinyl issue of these raw experimental dub collaborations between Muslimgauze and The Rootsman, written, recorded and mixed at the Third Eye Studio, Bradford, UK between 1997 and 1998. Originally released on CD by Russian label Aquarellist. Edition of 500.\" - Via Parigi.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ivDzeJ_ARmA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen=\"\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e","brand":"Via Parigi","offers":[{"title":"Double LP","offer_id":40146638241981,"sku":"","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/VIA001LP_CU.jpg?v=1625239056"},{"product_id":"knudsen-wednesday-soft-focus-volumes-one-and-two-feeding-tube-records-cd","title":"KNUDSEN, WEDNESDAY - Soft Focus: Volumes One and Two","description":"\u003cp\u003e\"First off, I should probably mention that this CD contains what might one day be two separate LPs. But if you have even a scintilla of info about the state of record pressing these days, you'll also know that all our best laid plans could go sideways. Fast. Still, this is a damn nice way to hear all this music without a lot of the endless huffing and puffing required by the flipping of individual LPs. Which means, for now you can just let the sweet swelter of Soft Focus wash over you like a warm, mid-summer wave on a tropical island. And if you want to have a cocktail while listening, go right ahead. This is Wednesday's fourth solo release, following two CDRs on Mystra and a cassette on Microdose. But she has a long recording history with the Pigeons and a few other combos. And it's her fifth appearance on an FTR release, following Viewer's New Salem MC (2017), both Weeping Bong Band LPs (FTR 313LP, 2018 and FTR 448LP, 2019), and a pair of LPs in duo with Willie Lane (FTR 530LP, 2020). We have some other pots boiling for her as well, but for now, here's Soft Focus. This project was begun last spring, deep in the Plague Era, when it was hoped things might be turning better. It is all solo work, apart from a little harp by PG Six on one track, and Wednesday displays her talents on woodwinds, guitar, keyboards, and vocals. The mood is abstract and wistful, bright at some moments and shrouded at others. Wednesday describes the sound as 'ambient,' but there's more to than that term often infers. The pieces are closer to the abstractions Eno explored on Another Green World (1975) and Before and After Science (1977) than to Music for Airports (1979) or Discreet Music (1975). There's a lovely pop sensibility hiding in them hills. And now it's available for you to hear on full repeat. You must have done something right!\" - Byron Coley, 2022.\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"CD","offer_id":42960805363931,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR651CD_CU_b0f85f8a-2bd0-4548-9c3f-88124a134dd0.jpg?v=1659011376"},{"product_id":"phase-fatale-burning-the-rural-district-hospital-productions-cd","title":"PHASE FATALE - Burning The Rural District","description":"\u003cp\u003e\"Burning The Rural District overcomes eight tracks of heavy rhythmics, cold sequences, and blue flame atmospheres related to experiencing a closed society. This energy is tied and twisted through a widescreen vision manifested in stressful breaks\/d'n'b cut-ups, and the maddening dysmorphia of bent sequences and signature fuzzy bass guitar harkening back to NYC post-punk roots. Recorded over many years entirely in Tbilisi, Burning The Rural District is influenced by the emerging super strong techno scene thriving in Georgia, despite that there is a lingering homophobia outside of the vast club culture. This is a snapshot putting a different window on that time of displacement, newness and ultimately creation. lived vicariously and personally, in the aftermath of physical street violence among ex-soviet state impromptu warehouses, to the sudden suicide of an acquaintance, in the shadow of the orthodox church, an unlikely but singular uplifting freedom emerged from this very closure. \"He died in the town where he was born.\" Cover art by Richard Ramirez.\" - Hospital Productions.\u003c\/p\u003e","brand":"Hospital Productions","offers":[{"title":"CD","offer_id":42960805527771,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/HOS726CD_CU_575fec44-43bb-4c4f-a16d-3e6c83e70ccc.jpg?v=1659011394"},{"product_id":"comite-hypnotise-hiking-the-trails-of-mount-muzak-cortizona-belgium-lp","title":"COMITE HYPNOTISE - Hiking The Trails Of Mount Muzak","description":"\u003cp\u003e\"No time to waste: nine months after Tim Vanhamel released Dubs Pour Oh La La (2021), his debut album under the moniker Comité Hypnotisé, the Millionaire frontman presents already the second album Hiking The Trails Of Mount Muzak. Hardly leaving any traces of the dubbed-out vibe which marked the first record, Tim expands his Comité Hypnotisé universe to a surprising next level on this second album: exploring a place where James Last, Wu-Tang Clan, and DJ Shadow are cooking up a Thai meal in a Peruvian restaurant overlooking the breathtaking peaks of Mount Muzak. Ney flutes tumbling backwards over the edge of easy listening in opener \"Rise Of The Equinoxians\", lurking for feel good vibes in \"Red Wolf Riddim\" and breezing in to new dimensions in \"Zing Zoing\" on the A-side while the Comité enters the chambers of the '70s \"Disco Skank\" and rides an untamed dragon towards the scorching sun in search of a flame-bringing beat in \"The Dragon Rider\" on the flipside.\" - Cortizona.\u003c\/p\u003e","brand":"Cortizona","offers":[{"title":"LP","offer_id":42960806150363,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CORTIZONA014LP_CU_129d8263-1aff-4adc-ac0c-7d3c8047a270.jpg?v=1659011358"},{"product_id":"mount-maxwell-the-people-s-forest-feeding-tube-records-cardinal-fuzz-lp","title":"MOUNT MAXWELL - The People's Forest","description":"\u003cp\u003e\"A founding member of Vancouver Island's MMR Collective, and head of the Canadian experimental electronic label Hotham Sound, artist and musician Jamie Tolagson (Mount Maxwell) currently lives and works in Vancouver, BC. His music is a unique blend of analog synths and acoustic instrumentation, calling to mind such artists as Boards of Canada, Bruce Langhorne, and Tangerine Dream. A preoccupation with childhood perception, utopian thinking, and the landscape of the Pacific Northwest runs throughout his work, which has been featured in Discorder Magazine, Tabs Out, Cassette Gods, Retromania, Free Form Freakout, Last FM, and NTS Radio. The People's Forest is his fifth album.\u003c\/p\u003e\n\n\u003cp\u003e\"The People's Forest is packed with micro-earworm moments, nourishing synths and playful crunchy percussion. It's got a skyward gaze and nostalgia for futures never realized, packing a kind of childlike optimism inside an arpeggio-laden, hermetically sealed little sound world. When the loose, hip-hop fueled drums kick in over warm synthesizer pads, you'll probably feel the same warm sense of familiarity I picked up. Music for fans of Boards of Canada, sure, but Mount Maxwell has a wide-open pastoral landscape and identity all its own.\" --Optimistic Underground\u003c\/p\u003e\n\n\u003cp\u003e\"Composed of seemingly small sounds, The People's Forest has an oddly natural quality to it despite being created almost entirely through synthetic means. Subtle synth lines coordinate effectively with bits of sampled audio including vocals and sounds of nature in a way that transports you to another place that feels like a home that you are yet to visit. Subdued percussion carries almost every track through these wandering soundscapes in a manner that gives the listener something to hold onto as they drift along in this other-worldly place that resembles Earth.\" --Rounding the Fringes\" - Feeding Tube Records\/Cardinal Fuzz.\u003c\/p\u003e","brand":"Feeding Tube\/Cardinal Fuzz","offers":[{"title":"LP","offer_id":42960806248667,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR637LP_CU_6e38938f-ee7d-4722-921b-ebec6477a521.jpg?v=1659011381"},{"product_id":"mount-maxwell-only-children-feeding-tube-records-cardinal-fuzz-lp","title":"MOUNT MAXWELL - Only Children","description":"\u003cp\u003e\"A founding member of Vancouver Island's MMR Collective, and head of the Canadian experimental electronic label Hotham Sound, artist and musician Jamie Tolagson (Mount Maxwell) currently lives and works in Vancouver, BC. His music is a unique blend of analog synths and acoustic instrumentation, calling to mind such artists as Boards of Canada, Bruce Langhorne, and Tangerine Dream. A preoccupation with childhood perception, utopian thinking, and the landscape of the Pacific Northwest runs throughout his work, which has been featured in Discorder Magazine, Tabs Out, Cassette Gods, Retromania, Free Form Freakout, Last FM, and NTS Radio. Only Children is his fourth album.\u003c\/p\u003e\n\n\u003cp\u003e\"Mount Maxwell continues his run of 1970s themed releases with a full-length meditation on the perceptual experiences of children born in the wake of the 1960s cultural revolution. Highly ambivalent in tone, Only Children marks a departure from earlier MM releases both in its use of acoustic instruments and in a newfound sense of criticality towards its subject matter; the back-to-the-land optimism of tracks like 'Nature ID' in uneasy proximity to the skeptical disquiet of 'Weird Places' and 'Nomad'. A beautiful, emotionally complex examination of the 'Me' generation's dubious decision to treat children like adults, and a haunting continuation of the Mount Maxwell experience.\" --Hotham Sound\u003c\/p\u003e\n\n\u003cp\u003e\"Mount Maxwell was raised on a commune on Saltspring Island and grew up to illustrate comic books before releasing two cassette tapes that were sonic dedications to the original BC Ferries fleet. And with his new album Only Children, he's created something so soul-crushingly good that if I were given the choice to only have to hear one more thing, I think I would choose this.\" --C Diab, Resonance Extra\" - Feeding Tube Records\/Cardinal Fuzz.\u003c\/p\u003e","brand":"Feeding Tube\/Cardinal Fuzz","offers":[{"title":"LP","offer_id":42960806281435,"sku":"","price":24.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR674LP_CU_9aa7ac4e-1724-4af2-b4e0-9e46328737a5.jpg?v=1659011380"},{"product_id":"d-arcangelo-arium-a-colourful-storm-australia-12","title":"D'ARCANGELO - Arium","description":"\u003cp\u003e\"D'Arcangelo is the duo of Marco and Fabrizio D'Arcangelo and Arium is their first release of sublime introspective electronics for A Colourful Storm. Throughout EPs and seminal albums for Rephlex, Nature, and Suction Records, D'Arcangelo forged a sleek and sensuous sound alongside their label mates Bochum Welt, Leo Anibaldi, and Lory D. Arium is their latest EP, containing new studio productions and a lost gem produced during the Shipwreck era (1999), hinting at the seminal Broken Toys' Corner (2002) and Eksel  (2007) albums. Full-color sleeve with insert and liner notes by Marco D'Arcangelo.\" - A Colourful Storm.\u003c\/p\u003e","brand":"A Colourful Storm","offers":[{"title":"12\"","offer_id":43113801941211,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ACOLOUR037EP_CU.jpg?v=1659011325"},{"product_id":"elodie-enteha-a-colourful-storm-australia-lp","title":"ELODIE - Enteha","description":"\u003cp\u003e\"A Colourful Storm presents Enteha, the latest piece by Elodie, the duo of Andrew Chalk and Timo van Luijk. Chalk and van Luijk embody a free-spirited approach to music making whose improvisational process can be traced to a distinct period of Europe's post-industrial landscape. More than two decades of ambitious solo and collaborative work would solidify both Chalk and van Luijk as masterful craftsmen exploring the tension between composition and free improvisation: their individual lists of collaborators boasts Christoph Heemann, Giancarlo Toniutti, David Jackman, and Colin Potter, to name but a fe.  A figment of two imaginations, Elodie appeared in 2011 almost fully formed with each record patiently revealing glimpses into a world concerned with time dilation, the phantasmagoric and spirits of the everyday. Enteha is one of the duo's more melancholic pieces and can be seen as a human response to seasonal transition. It's one of their uniquely longform explorations of mood and atmosphere as an air of romance drifts deftly into mystery and despair. The delicate hues of autumnal haze. The deceptive optimism of morning light. A work of supremely understated beauty that will appeal to anyone who finds solace in Harmonia, GAS, Joanna Brouk, Roberto Musci, and Zoviet France. Includes insert.\" - A Colourful Storm.\u003c\/p\u003e","brand":"A Colourful Storm","offers":[{"title":"LP","offer_id":43113802006747,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ACOLOUR039LP_CU.jpg?v=1659011328"},{"product_id":"princess-diana-of-wales-princess-diana-of-wales-a-colourful-storm-australia-lp","title":"PRINCESS DIANA OF WALES - Princess Diana of Wales","description":"\u003cp\u003e\"Princess Diana of Wales, by London-based Australian Laila Sakini, is A Colourful Storm's latest and most curious project. Someone, no one, a notion, a feeling... Sakini offers clues but no simple answers. Vocal-led pieces \"Still Beach\" and \"Fragments of Blue\" are brittle and intoxicating, contemplating recklessness and unfulfillment of a past life: \"Watching the future wash away\/ Giving it up to have this day\". She studies closeness and, incredulous of the feelings that emerge, wonders if detachment is impermanent. She catalogs these emotions as a series of memories, colors, and images. \"Evaporate\", sedated and hushed, is a secret confession and ode to resolution, albeit, fatally, only a temporary one: \"Take some form\/ Later on when I can do this\/ When we can do this\/ Together\". Behind the album is a stage of dubwise disorientations evoking in-between states of the everyday. \"Swing\" and \"Closer\" are woozy and dreamlike, their voices summoning ghosts of fortunes past while \"Exhaust\" finds an aperture in our protagonist's daydream. A perilous foreshadowing of the incantatory \"Choir Chant\", whose spell pacifies her inquisition, submerging both self and feeling into the deep blue sea. RIYL: Grouper, Kali Malone, Drew McDowall. Full-color sleeve with insert.\" - A Colourful Storm.\u003c\/p\u003e","brand":"A Colourful Storm","offers":[{"title":"LP","offer_id":43113802072283,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ACOLOUR038LP_CU.jpg?v=1659011331"},{"product_id":"blod-leendet-fran-helvetet-aguirre-records-belgium-lp","title":"BLOD - Leendet Fran Helvetet","description":"\u003cp\u003e\"Originally released in 2017 on Förlag För Fri Musik. \"It's been a true pleasure but also a rather chaotic experience to follow the progress of Blod from a close distance since the beginning. I have fond memories of receiving the odd cassettes from the early days, like the severely fucked up Unga Röster (later issued as an LP on Förlag För Fri Musik) and the awfully mesmerizing Prat Om Depression recording. Returning to Leendet Från Helvetet for the first time for long a while, it's quite evident that the album marked a new phase in the troubled Blod universe. There's few traces left of the found tapes\/audial voyeurism and brutish stop\/rec editing that made up the first few releases, instead we are served with what is pretty much a proper album in a, sort of, traditional sense. The record opens with a sole beat from a hand drum soon accompanied by a beautiful and very Blod-ish subtle melody from a glockenspiel but it only takes a few minutes before Gustaf's past as a free jazz aficionado is noticeable with the rather rough saxophone burst of 'Natten'. It's not until the title track that things kicks off for real though, most likely the first example of the sound and, maybe more so, very special feeling that I would say most people associate Blod with nowadays. To me, it's the sound of growing up in Sweden in the '80s; having two channels on the TV, eating brown food, rainy summers, taping commercial stuff on the radio, playing D\u0026amp;D in a purple tent in the garden... Arguably, Blod has never sounded more Blod than on this track, this is the very essence of the man's work right here. The progam continues on side B with the solemn piano piece 'Lust', another saxophone rager and then the flipside's centerpiece 'Tro, Hopp \u0026amp; Kärlek' which pretty much mirrors the title track in its larger-than-life scope and pure beauty. A couple of years has passed since its initial release back in 2017 and I think it's safe to say that Leendet Från Helvetet is by far the most overlooked album in the Blod discography (well, if you can say that about a record that was only pressed in a mere 100 copies to begin with!) The blueprint to what would later evolve into the bombastic Knuta Nävar (2018), the intimate Tusen Bitar (2020), the highly confusing medieval masterpiece Missväxt (2021), not to mention all the self-released cassettes and CD-rs.\" Includes insert; edition of 500.\" - Aguirre Records.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"LP","offer_id":43113802105051,"sku":"","price":31.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ZORN089LP_CU.jpg?v=1659011332"},{"product_id":"kot-kot-i-pni-aguirre-records-belgium-lp","title":"KOT KOT - I Pni","description":"\u003cp\u003e\"In the old attic, among dust and dimness, I once found an old children's magazine, that opened itself on a photograph of three melancholic girls eating soup.\" A distant voice, quietly singing ravels of poems from the 19th century, all gone and forgotten long ago, is accompanied by monotonous loops, played on toy keyboards, or are they maybe a rustling and hissing of twigs on the roof? Repeating gusts of wind, slightly moving curtains over a flaking window frame? The pace of moonlight on the carpet? Do you also hear a horn, every now and then sounding from a frayed and yellowed picture of a castle on flower dotted wallpaper?\u003c\/p\u003e\n\n\u003cp\u003eKot Kot's I Pni (\"and stumps\") LP brings another glimpse into Lena Filatova's sound gathering and recording process and her unique sensibilities. Feeling as though born from some kind of advent calendar hiding forgotten sounds, neglected moments and haunting sentiments, waiting there for those inclined to have a look. Lena is curiously opening doors individually and in new unisons to arrive at sound collages and compositions born from both accident and design (see the 5\/4 odd time signature in \"Ottepel\"). Vocals that are fragile yet often laced with a feeling of determination and emotive persuasion. Lyrics pulled from old children's books, juxtaposed with often dark and foreboding loops and samples that dance asynchronously around each other beneath Lena's voice and piano\/toy keyboards. Often recognizing and embracing the magic in imperfection and choosing to keep early takes and improvisations, capturing and treasuring what others might have failed to recognize and hold dear. Lena is always demonstrating an innate ability to sew all of these things together in such a way as to cast a spell on the listener from inside a zoetrope of curiously collected and curated frames. I Pni is a big and serious poetic work about the most hidden, almost lost and perished, but forever wandering between sleep and waking in an eternal hauntological dream of an old attic. Includes lyric sheet; edition of 300.\" - Aguirre Records.\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"LP","offer_id":43113802203355,"sku":"","price":31.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/ZORN087LP_CU.jpg?v=1659011334"},{"product_id":"anima-underground-altena-alga-marghen-italy-lp","title":"ANIMA - Underground Altena","description":"\u003cp\u003e\"Alga Marghen present Underground Altena, two visionary long-form works by Anima Sound, the radically freedom-pursuing Paul and Limpe Fuchs duo. 1973 represented a peak for Anima sonic explorations into sculptural sound at the crossing of krautrock, free jazz, and experimental music. Limpe Fuchs studied piano, violin, and percussion in Munich, but all changed in the late 1960s when she met sculptor Paul Fuchs and discovered there was much more space to experiment and discover her own way as in the sculptural environment she had the chance to work directly with materials. Paul first built a horn as a sculpture (the famous Fuchshorn) and started experimenting with its sounds. Then he built a pedal kettledrum adding things to it like woodblocks and welded a steel ring to the hi-hat stand that was strung up with several strings which Limpe played with her toes, or using a saw blade and a shovel. Even if in the beginning Paul and Limpe were more interested in experimental film, there were other communities like Amon Düül and Tangerine Dream and Anima started touring with them as well as with Popol Vuh or Xhol and very quickly became well known within this krautrock scene. After they were engaged in the Underground Explosion Tour 1969 and had made the Tractor Tour at 19 km\/h between Munich and Rotterdam in 1971, came Friedrich Gulda who joined them in the early '70s. He was very fond of the duo and he especially liked Limpe singing and their way of just improvising. He was a famous arranger, but wanted to play in an improvising group. Later on, Anima was included in the infamous \"Nurse With Wound List\" and came the connection to Steven Stapleton who included them in the An Afflicted Man Musica Box anthology together with Jac Berrocal, AMM, Operating Theatre. Even if Anima was in fact part of the krautrock scene, they had a very distinct sound which was a result of the confluence of Paul's \"visionary\" sculptural world and Limpe's aural universe. Playing on self-built instruments also had a major role in building their specific sound which became more and more unique in the early 1970s as the Fuchhorn, the Fuchzither, the Fuchsbass and other sound sculptures were created. Heavily guided by Limpe's unique approach to percussion playing and vocals, with Paul delivering a striking arsenal of tonal interventions on his invented instruments, \"Underground\" and \"Altena\" plays like the outer reaches of free jazz dropped in an alien landscape. Howling and clattering, entirely free and spontaneous, while never losing the sense of deep consciousness, purpose and control.\" - Alga Marghen.\u003c\/p\u003e","brand":"Alga Marghen","offers":[{"title":"LP","offer_id":43113802268891,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/NMN166LP_CU.jpg?v=1659011335"},{"product_id":"singh-with-martin-sturm-rishin-mewls-infans-beacon-sound-lp","title":"SINGH WITH MARTIN STURM, RISHIN - mewls infans","description":"\u003cp\u003e\"In the 1850s the influential composer Franz Liszt, who was living in Weimar, Germany at the time, carried out, with the famous cantor Alexander Wilhelm Gottschalg, a series of \"ländlichen Orgelexperimente\" (rural organ experiments) in Thuringia -- investigating various instruments and their capabilities for contemporary music. They eventually settled on the organ in Denstedt because of its high quality. Many years later, award-winning organist Martin Sturm would invite the Berlin-based composer Rishin Singh to repeat these \"ländlichen Orgelexperimente\" with him and they again chose the organ at Denstedt, now named in honor of Liszt, as the best instrument -- the most flexible and expressive -- to perform and record Singh's music for organ. mewl infans is a contemporary classical piece that invites modern listeners to ponder the enduring pull of an instrument that was first conceived more than 2,000 years ago and has, in recent years, been rediscovered by a new generation of composers and listeners. Throughout the larger architecture of the four movements, melodic motifs return over and over, fractured by noise, fragmented by carefully calibrated alternate tunings, dissolving into thin air, and generating drones which then transform into new melodic variations. Over the 44 minutes of the piece the organist at times attempts to exert complete control over the instrument, and at other times relinquishes all control entirely. Conceptually rigorous and emotionally charged, mewl infans rewards deep listening and patience. At times conjuring a sense of doom, at other times suspense, pastoral drift, or aquatic submersion, the album is a universe of tiny details comprised of noise and air, of the journey each tone takes from birth to expiration. Singh has been commissioned by the GRAMMY-nominated JACK Quartet. RIYL: Anna von Hausswolff, Olivier Messiaen, Max Reger, Kali Malone, Ellen Arkbro, Kevin Drumm, Maria Horn.\u003c\/p\u003e\n\n\u003cp\u003e\"An endless and captivating exploration of one organ's timbres and tones. Both whispered and shouted, large and small, close and far, Singh's work is both unsettling and a balm, and has invited me to reconsider pitch, consonance, dissonance, tension and release.\" --Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME)\" - Beacon Sound.\u003c\/p\u003e","brand":"Beacon Sound","offers":[{"title":"LP","offer_id":43113802301659,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BNSD065LP_CU.jpg?v=1659011337"},{"product_id":"dagar-mohi-bahauddin-ahir-bhairav-black-sweat-records-italy-2lp","title":"DAGAR, MOHI BAHAUDDIN - Ahir Bhairav","description":"\u003cp\u003e\"Mohi Bahauddin Dagar is the heir to one of the most important families of musicians in the Indian Hindustani tradition: Dagar family. During the 20th century, his father, the famous Ustad Zia Mohiuddin Dagar, was mainly responsible for the revival of the Rudra Veena as a solo concert instrument. The stylistic evolution of the Rudra also involved a substantial modification of its parts by Zia Mohiuddin. In fact, the tumbas (gourds) and dhandhi (hollow neck) were enlarged to create greater resonance and closeness to the techniques used in Dhrupad singing. Ahir Bhairva consists of a mix of two morning Raga in its classical progression of alap, jor, jhala, and chowtal phases, in a sound framework embellished by tanpura and pakhawaj. Bahauddin remains faithful to the stylistic features of Dagarbani thought, a slow meditative development that explores all the possible ranges of his instrument, with ascending and descending microtonal movements that reactivate body and mind in the first light of day. Originally released digitally by Country \u0026amp; Eastern in 2019.\" - Black Sweat Records.\u003c\/p\u003e","brand":"Black Sweat","offers":[{"title":"Double LP","offer_id":43113802367195,"sku":"","price":42.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BS070LP_CU.jpg?v=1659011338"},{"product_id":"alit-gamelan-salukat-dewa-chasing-the-phantom-black-truffle-australia-lp","title":"ALIT \u0026 GAMELAN SALUKAT, DEWA - Chasing the Phantom","description":"\u003cp\u003e\"Dewa Alit, Bali's master of contemporary Gamelan composition, returns to Black Truffle with Chasing the Phantom, presenting two recent works played by the composer's Gamelan Salukat, a large ensemble that performs on instruments specially built to his designs, using a unique tuning system that combines notes from two traditional Balinese Gamelan scales. Alit explains that the ensemble's name suggests \"a place to fuse creative ideas to generate new, innovative works\" and both compositions demonstrate the composer's ability to wring stunning new possibilities from variations on the traditional Gamelan ensemble. While using familiar elements of Balinese Gamelan music, such as unison scalar melodies and stop-start dynamics, Alit's music is overflowing with harmonic, rhythmic, and timbral inventions, the latter often facilitated by unorthodox playing techniques. \"Ngejuk Memedi\" (Chasing the Phantom) results from Alit's reflection on the complex relationship between tradition and modernity in Balinese culture, particularly in the way that belief in the phantoms or spirits known as \"memedi\" are shared through social media using digital technologies. Embodying this uncanny co-existence, the opening passages of the piece are at once immediately recognizable in their use of the metallophones of the Gamelan ensemble and strikingly reminiscent of electronics in their timbre and movement. At points, what we hear seems to have been fragmented with digital tools, or even to originate in some incessantly glitching DX7. After several minutes of this manically tinkling metallic sound world, the metallophones are joined by drums for a meditative passage of lower dynamics, as the uniformly high pitch range explored in the opening sections gradually opens up to include resonant low gong hits. \"Likad\", written during Covid-19 lockdowns, channels anxiety and uncertainty into musical form, resulting in a piece that, even by Alit's standards, is stunning in its complexity and the virtuosity it demands of Gamelan Salukat. Its opening section is perhaps most remarkable for its mastery of texture, with rapid transitions between dry, muted strikes, and metallic shimmers calling to mind the use of filters in electronic music. At points, the complex irregular repetitions of short melodic patterns, where the music seems to get stuck or be suddenly interrupted by a skip, recall the mad sampler works of Alvin Curran or the skittering surface of prime period Oval more than anything familiar from acoustic percussion music. Moving through a dizzying series of twists and turns, the piece ends with a majestic sequence of chords possessing an almost hieratic power.\" - Black Truffle.\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"LP","offer_id":43113802399963,"sku":"","price":35.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BT093LP_CU.jpg?v=1659011339"},{"product_id":"ferrari-christoph-heemann-brunhild-sturmische-ruhe-black-truffle-australia-lp","title":"FERRARI \u0026 CHRISTOPH HEEMANN, BRUNHILD - Sturmische Ruhe","description":"\u003cp\u003e\"After her stunning collaboration with Jim O'Rourke -- Le Piano Englouti (BT 055LP, 2020) -- Brunhild Ferrari returns to Black Truffle with Stürmische Ruhe, her first duo with Christoph Heemann. A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum, and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik), and Plastic Palace People (with Jim O'Rourke), and the precise cinema pour l'oreille constructions of his solo works. Created together in Ferrari's Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into an intricately woven fabric of haunted electronics, unexpected edits and disorienting processing. Banging with the jarring thump of a slamming door (an element that will reappear periodically throughout the piece as a kind of punctuation mark), it is immediately obvious that concrete sound is used here in a free, poetic way outside of the strict confines of documentary field recording. The wind captured by Ferrari's microphone roars and whistles, accompanied by thick clusters of wavering tones whose unpredictable rises and falls in volumes are synchronized with the bumping and thudding of windows and doors. At some points the microphone sound melts into a wavering low-bit digital smear before fanning out into broad, atmospheric depths. The cinema for the ear constructed here suggests not linear narrative or documentary, but an organic flow of cross-fades, double-exposures and abrupt cuts, a free-associative dream in which wind and water take on mythical characteristics.   Throughout the piece's second half, layers of synthetic floating tones, and pinging upward glissandi negotiate a constantly shifting balance with wind-borne whispers and rustles, at times dropping to silence, at others rising up with elemental force. As Ferrari explains in her liner notes, Stürmische Ruhe is a meeting of \"completely opposite sound worlds\" in which \"almost-violence\" is joined with a \"reconciling harmony\". Reaffirming the infinite possibilities of the musique concrète tradition while avoiding its academic tropes, Stürmische Ruhe is accompanied by tri-lingual liner notes from Brunhild Ferrari and arrives in a sleeve graced with the beautiful art informal paintings of her father, Wolfgang Meyer Tomin. Cut at 45rpm for maximum fidelity. Includes insert.\" - Black Truffle.\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"LP","offer_id":43113802432731,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BT090LP_CU.jpg?v=1659011341"},{"product_id":"hennix-catherine-christer-poesy-matters-other-matters-blank-forms-book","title":"HENNIX, CATHERINE CHRISTER - Poesy Matters \u0026 Other Matters","description":"\u003cp\u003e\"This two-volume set, Poesy Matters and Other Matters, presents selected texts by the Swedish polymath Catherine Christer Hennix. Volume one, Poesy Matters, is divided into two sections: poetry and drama, with each section also containing pieces of commentary by Hennix or her longtime collaborator Henry Flynt. Volume two, Other Matters, is divided into two sections: first, program notes and essays about a wide range of topics (including music, psychoanalysis, and mathematics), and second, a reproduction of Hennix's 1989 work The Yellow Book. The first comprehensive publication of Hennix's written work, Poesy Matters and Other Matters illustrates the singular depth and variety of her contributions to contemporary music, art, literature, and mathematics. Best known as a composer, Catherine Christer Hennix has, throughout her fifty-plus-year career, produced innovative work in the fields of not just minimal and computer music, but psychoanalytic theory, intuition mathematics, poetry, and prose as well. The texts in Poesy Matters and Other Matters reflect Hennix's diverse training as well as her long-standing personal interests in Lacanian psychoanalysis and Japanese and Middle Eastern poetic forms, resulting in a rich, diffuse collection of writings that reveal one of the avant-garde's most implacable, not to mention overlooked, creative minds.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43113802498267,"sku":"","price":46.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781733723503_CU.jpg?v=1659011342"},{"product_id":"licht-alan-common-tones-selected-interviews-with-artists-and-musicians-1995-2020-blank-forms-book","title":"LICHT, ALAN - Common Tones: Selected Interviews with Artists and Musicians 1995-2020","description":"\u003cp\u003e\"Conversations with the avant-garde's leading lights--from Suicide to Anohni -- by experimental music's go-to interviewer, guitarist and sound artist Alan Licht. For the past 30 years, Alan Licht has been a performer, programmer and chronicler of New York's art and music scenes. His dry wit, deep erudition and unique perspective -- informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock -- have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduated from Vassar College in 1990 Licht had already authored important articles on minimalist composers La Monte Young, Tony Conrad and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimental music magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking profiles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public exchanges and new dialogues held on the occasion of this collection. Even Lou Reed, a notoriously difficult interviewee, was impressed. Interviews by Alan Licht with Vito Acconci, ANOHNI, Cory Arcangel, Matthew Barney, Glenn Branca, Rhys Chatham, Tony Conrad, the Dream Syndicate's Karl Precoda, Richard Foreman, Henry Flynt, Milford Graves, Adris Hoyos, Ken Jacobs, Jutta Koether, Christian Marclay, Phill Niblock, Alessandra Novaga, Tony Oursler, Lou Reed, Kelly Reichardt, The Sea and Cake, Suicide, Michael Snow, Greg Tate, Tom Verlaine, Rudy Wurlitzer and Yo La Tengo's Georgia Hubley and Ira Kaplan. Introduction by Jay Sanders.\" - Blank Forms.\u003c\/p\u003e","brand":"Blank Forms","offers":[{"title":"Book","offer_id":43113802563803,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/9781953691019_CU.jpg?v=1659011344"},{"product_id":"7697-miles-iskay-buh-records-peru-lp","title":"7697 MILES - Iskay","description":"\u003cp\u003e\"The name of the project, 7697 Miles by Dieter Mauson and Cristóbal Rawlins, alludes to the distance that separates both geographical places. Mauson started in the '80s with various industrial and minimal synth projects. He currently performs as a solo artist under the name of Occupied Head. For his part, Rawlins, under the alias of Raw C, has become one of the fundamental names in the most innovative techno scene in Chile. Iskay (which in Quechua means \"two\") was recorded during a tour that the duo made in Peru, inspired by the Andean culture and its ancient traditions. The pieces that make up Iskay were composed using a wide variety of synthesizers and follow the lessons left by German electronic music from groups such as Kraftwerk and the Berlin School. But they are also open to ambient experimentations and echoes of techno culture, resulting in pieces that cover a whole tradition of electronic music, in a true hypnotic excursion for those who enjoy electronic sounds as a journey to new territories of sound and psyche. Iskay is the debut of 7697 Miles on Buh Records. The cover art was designed by Peruvian artist Paloma Pizarro (Infra_Intl). Edition of 300.\" - Buh Records.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"LP","offer_id":43113802662107,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BR118LP_CU.jpg?v=1659011347"},{"product_id":"linde-oksana-aquatic-and-other-worlds-1983-1989-buh-records-peru-lp","title":"LINDE, OKSANA - Aquatic And Other Worlds (1983-1989)","description":"\u003cp\u003e\"Oksana Linde belongs to the same creative trail started by artists such as Delia Derbyshire, Suzanne Ciani, or Laurie Spiegel, because like them she knew how to create a personal universe by exploring electronic sounds and to find a place in an eminently masculine environment. Aquatic And Other Worlds is her first album, which compiles electronic synthesizer pieces recorded between 1983 and 1989. Born in Caracas, Venezuela, in 1948, into a family of Ukrainian immigrants, Oksana Linde's work became known at the beginning of the '80s, coinciding with the emergence of a new scene of Venezuelan electronic synthesizer music, with names such as Ángel Rada, Miguel Noya, Musikautomatika, Vinicio Adames, Oscar Caraballo, Aitor Goyarrola, and Jacky Schreiber. In 1981, at the age of 33, Oksana Linde left her job as a researcher due to health issues and began to devote more time to music and painting. She borrowed a Polymoog synthesizer, then a TEAC open reel tape recorder and a Moog Source. With this equipment she set up her small home studio and began to compose her first pieces around 1983-1984. She eventually expanded her equipment, acquiring a 16-channel mixer, a Roland Tape Echo, a TR-505 drum machine, a Korg M1, and years later a Korg TR-88. Between 1984 and 1986 she recorded more than 30 pieces. Between 1989 and 1996 she continued to produce another 30 pieces, thus accumulating a large archive that has remained unpublished. Oksana Linde's music can be intensely hypnotic and psychedelic, but also melodic and playful. Linde programs and plays all the instruments and develops melodic lines that are superimposed on loops and sequences, as well as various layers of reverberant and floating sounds that come and go, and always establish a very cinematic narrative, very typical of the tradition of synthesizer music. The early work of women in electronic music in Latin America is one of those areas that has yet to be worked in depth. In Latin America, the introduction of the synthesizer in experimental, progressive and electronic music from the '70s on, is associated almost exclusively with male figures, which is why the work of Oksana Linde gains particular relevance, as she establishes herself as a figure who breaks that hegemony, and whose extensive production in turn places her as one of the most prolific and notable exponents of synthesizer music in Latin America. Compiled by Luis Alvarado. Includes notes by Oksana Linde, Ale Hop, and Luis Alvarado. Art by René Sánchez. Edition of 300.\" - Buh Records.\u003c\/p\u003e","brand":"Buh","offers":[{"title":"LP","offer_id":43113802694875,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/BR160LP_CU.jpg?v=1659011348"},{"product_id":"brotzmann-misha-mengelberg-han-bennink-peter-3-points-and-a-mountain-cien-fuegos-austria-lp","title":"BROTZMANN\/MISHA MENGELBERG\/HAN BENNINK, PETER - 3 Points And A Mountain","description":"\u003cp\u003e\"Reissue, originally released on FMP in 1979. Personnel: Peter Brötzmann - alto and tenor saxophone, E flat clarinet, A clarinet, bass clarinet; Misha Mengelberg - piano, voice; Han Bennink - drums, tenor saxophone, clarinet etc. Recorded by Jost Gebers on February 26th, 1979 at the Akademie der Künste in Berlin. Produced by Peter Brötzmann and Jost Gebers. Cover design by Peter Brötzmann. Photograph by Roberto Masotti. Remastered by Martin Siewert in 2021. 180 gram vinyl.\" - Cien Fuegos.\u003c\/p\u003e","brand":"Cien Fuegos","offers":[{"title":"LP","offer_id":43113802793179,"sku":"","price":34.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CF026LP_CU.jpg?v=1659011349"},{"product_id":"globe-unity-orchestra-the-choir-of-the-ndr-broadcast-the-hamburg-74-cien-fuegos-austria-lp","title":"GLOBE UNITY ORCHESTRA \u0026 THE CHOIR OF THE NDR-BROADCAST, THE - Hamburg '74","description":"\u003cp\u003e\"Recorded during the 105th NDR Jazzworkshop, November 19, 1974 at the Funkhaus Hamburg, großer Sendesaal. This album was originally released on FMP in 1979 (FMP 0560). Liner notes by Alexander von Schlippenbach (in German). 180 gram vinyl.\u003c\/p\u003e\n\n\u003cp\u003ePersonnel: Manfred Schoof - trumpet; Kenny Wheeler - trumpet; Peter Brötzmann - reeds; Rüdiger Carl - alto \u0026amp; tenor saxophone; Gerd Dudek: soprano \u0026amp; tenor saxophone; Evan Parker - soprano \u0026amp; tenor saxophone; Michel Pilz - bass clarinet; Günter Christmann - trombone; Paul Rutherford - trombone; Derek Bailey - guitar; Alexander von Schlippenbach - piano; Peter Kowald - double bass, tuba; Han Bennink - drums, percussion, clarinet; Paul Lovens - drums, percussion; and the Choir of the NDR-Broadcast conducted by Helmut Franz.\" - Cien Fuegos.\u003c\/p\u003e","brand":"Cien Fuegos","offers":[{"title":"LP","offer_id":43113802825947,"sku":"","price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CF024LP_CU.jpg?v=1659011351"},{"product_id":"takayanagi-and-new-directions-masayuki-independence-tread-on-sure-ground-cinedelic-records-italy-lp","title":"TAKAYANAGI AND NEW DIRECTIONS, MASAYUKI - Independence: Tread On Sure Ground","description":"\u003cp\u003e\"Cinedelic Records present a reissue of Masayuki Takayanagi and New Directions' Independence: Tread On Sure Ground, originally released in 1970. Considered the \"Lochness monster\" of Japanese free jazz records due to its incredible rarity, this album was the debut recording of Takayanagi Masayuki as leader with The New Directions. Recorded at the Teichiku Kaikan studios on September 18, 1969 (released in 1970), Independence: Tread On Sure Ground is largely regarded as the first true classic of Japanese free jazz. The group thrashes out an entirely new Japanese methodology for improvisation based on Takayanagi's theories about progressive art. As Alan Cummings explains in his texts to review issues, the group's sonic outburst is pregnant with an urgent intensity similar to a violent rotating windstorm. Personnel: Masayuki Takayanagi - guitar; Motoharu Yoshizawa - bass, cello, percussion, reeds (folk pipe); Yoshisaburo Toyozumi - drums, percussion. Fully licensed and remastered from the original tapes. Includes OBI and insert.\u003c\/p\u003e\n\n\u003cp\u003e\"An electric guitar string is pinged with a sour and markedly unlovely resonance. It is left to fade away naturally, its dying whisper replaced with a wavering feedback tone that grows steadily in volume and thickness. Against the slow feedback wave, a sudden loud percussive crash, urgent staccato rolls across the toms, and the dry rasp of a rattle. A choppy, non-sequential series of chords from the guitar, still mouth-puckeringly bitter is set against the warmer resonance of an alternately bowed and plucked double bass. Each instrument sounds self-contained, like lunar bodies spinning on their own axes at different tempos, but locked together by unfathomably complex rules of motion. Additional percussive rattles and scrapes have been overdubbed to fill in the blank space. Tendrils of feedback snake in and out, like cosmic dust from some cataclysmic celestial event. The playing is exploratory and deliberate, technically adept and keenly judged, easily sustaining interest and motion across the track's eleven minutes. Its sense of focused concentration is more akin to the European free improvisation of AMM or The Spontaneous Music Ensemble than the violent ecstasies of American fire music.\" -- Alan Cummings\" - Cinedelic Records.\u003c\/p\u003e","brand":"Cinedelic","offers":[{"title":"LP","offer_id":43113802858715,"sku":"","price":44.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CNLP065LP_CU.jpg?v=1659011352"},{"product_id":"togashi-quartet-masahiko-speed-space-the-concept-of-space-in-music-cinedelic-records-italy-lp","title":"TOGASHI QUARTET, MASAHIKO - Speed \u0026 Space: The Concept of Space in Music","description":"\u003cp\u003e\"Reissue, originally released in 1969. Recorded in November 1969 at Teichiku Kaikan Studio, Tokyo, Speed \u0026amp; Space: The Concept of Space in Music is one of those landmark works in which Masahiko Togashi is accompanied by talented musicians who possess a unique style and innovative approach. The album is an exploration of Togashi's notion of the \"Time Law\" and can be seen as a study of how texture, rhythm, and differing rates of change effect our perception of the passage of time in music. Sounding quite obscure and contemplative, the brief introductory theme signed as \"Presage\" prepares the listener for powerful and scathing free jazz. In a pace of increasing intensity, \"Panorama\" remits you to the liberating ways of an absorbing percussion where the more muscular interventions are interspersed with moments of enormous sensitivity. Grounded by Togashi's varied percussion, the disconcerting piano of Masahiko Sato and the vigorous bass of Yoshio Ikeda mark the guidelines of this long abstract exercise. An energetic improvisation, this theme of nearly 15 minutes flows into a grand finale with the involvement of all the musicians. \"Expectation\" closes the A side in a short but intense reverie of percussion, bass, and flute, guided by an improvisation free of harmonic prejudices. At the piano (and gong), Masahiko Sato assumes a mediation function, granting some harmony traits to the, almost always, abstract and corrosive concepts of this collective. Bassist Yoshio Ikeda (recorded with trumpeter Terumasa Hino and pianist Aki Takase) imprints a decisive mark to the robust rhythm-section as to the overall sound of this date. Mototeru Takagi helps impart a tonal diversity and a colorful exoticism through his forays into the tenor saxophone, bass clarinet, and flute. Of sharp forms dominated by technique and irreverence, side B continues with the title track, divided in two distinct but equally penetrating parts. With a depth marked by Togashi's percussion, \"Speed \u0026amp; Space # 1\" unfolds on a fast tune over 11 minutes of a harsh and incisive improvisation. The interaction of an irreverent rhythm section finds its complement in the disturbing screams of a delirious saxophone. Shorter, the second part gives voice to a minimalist concept in which the central role of Togashi finds an interesting matching in Masahiko Sato's piano as well in the saxophone and flute of Mototeru Takagi. Fully licensed and remastered from the original tapes. Includes OBI and insert.\" - Cinedelic Records.\u003c\/p\u003e","brand":"Cinedelic","offers":[{"title":"LP","offer_id":43113802957019,"sku":"","price":44.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CNLP064LP_CU.jpg?v=1659011354"},{"product_id":"merzbow-animal-liberation-until-every-cage-is-empty-cold-spring-records-uk-cd","title":"MERZBOW - Animal Liberation - Until Every Cage Is Empty","description":"\u003cp\u003e\"Cold Spring Records presents the new studio album from Merzbow. As a life-long campaigner of animal rights, Masami Akita has delivered a brutal assault on those that cage and murder animals. Animal Liberation - Until Every Cage Is Empty is five tracks (49 minutes) of total noise assault that only the King of Japanese Noise can provide. \"There is a theory that Covid-19 broke out from the poor conditioned wet markets where live animals are sold. If there were no poultry farms, there would be no mass destruction of chickens due to the spread of bird flu. Human beings' cruelty to animals, animal abuse and species discrimination are all adding up to a disaster for mankind and the whole planet. The pandemic is an opportunity to reflect on the relationship between animals and humans. Veganism is the future for humanity\" --Masami Akita, 2021. The artwork is a reflection of the animal rights and anarcho-punk movements of the '80s. Proceeds from this release will benefit animal rights charities. Presented in a matt-laminate digipak.\" - Cold Spring Records.\u003c\/p\u003e","brand":"Cold Spring","offers":[{"title":"CD","offer_id":43113803022555,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CSR314CD_CU.jpg?v=1659011355"},{"product_id":"sonologyst-interdimensional-cold-spring-records-uk-cd","title":"SONOLOGYST - Interdimensional","description":"\u003cp\u003e\"The new Sonologyst album, Interdimensional, explores the paraphysical dimension of cosmic music. It completes the dilation process of his sound, which began with the albums Silencers (CSR 253CD, 2018) and Ancient Death Cults And Beliefs (CSR 270CD, 2020), forming an ideal trilogy inspired by what is beyond the boundaries of science. Interdimensional is inspired by the scientist Michio Kaku who theorized what could be the remote future of the human species, beyond matter, the stars, and known dimensions. A future that could lead you to the victory over the end of everything, beyond the foreseen and inevitable death of the universe known to us. Also, a cosmic record in terms of sound, Interdimensional is pervaded by a sense of stasis reminiscent of Thomas Köner's isolationist electronics, but still characterized by the use of electrified instruments, analog synthesizers, and recordings of resonant metal objects. Unlike the previous records, however, the typical dark experimental\/post-industrial sound of Sonologyst is filtered through hazy warping reverberations, and infinite delays, which musically depict the intergalactic journey of a civilization in search of a possible future beyond death.\" - Cold Spring Records.\u003c\/p\u003e","brand":"Cold Spring","offers":[{"title":"CD","offer_id":43113803055323,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CSR305CD_CU.jpg?v=1659011357"},{"product_id":"bastien-pierre-sonic-folkways-discrepant-uk-lp","title":"BASTIEN, PIERRE - Sonic Folkways","description":"\u003cp\u003e\"By now counting more than four decades of constant activity, Pierre Bastien erected such a towering and influential body of work that any blurb attempt regarding his music could easily fall into redundancy. Not that his revolving soundworld, deeply personal and unique, has ever stalled into gimmick or self-mimicry, being Bastien the tireless explorer whose vision can never be complete, only continuously redefined in a process of discovery equally playful and challenging. So, completely in touch with Discrepant's ethos. Returning to the label after 2017 The Mecanocentric Worlds of Pierre Bastien, the French musician, composer, and instrument builder, brings an array of instruments from different cartographies and legacies with the appropriately titled Sonic Folkways. Resorting to different types of horns, prepared trumpet, an army of percussion, from gongs and tambourine to castanets and maracas, violin and too many others to mention here, Bastien weaves together a highly textured and hypnotic mosaic that projects an exotica beamed from scraps of the future. \"Aha!\" in the same interstellar wavelength as Sun Ra's cosmic tones, \"Moor's Room\" almost orchestral tapestry of small percussion and insects or the non-western strings and tunings salvaged from ancient alien ceremonies on \"Pan's Nap\". In an era where so much ink has been shed about world building in experimental music, Bastien can actually claim that to himself. The otherworld is right here, indeed.  Artwork collage by Evan Crankshaw. Mastered by Anne Taegert at Dubplates \u0026amp; Mastering.\" - Discrepant.\u003c\/p\u003e","brand":"Discrepant","offers":[{"title":"LP","offer_id":43113803251931,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CREP092LP_CU.jpg?v=1659011359"},{"product_id":"kantarcioglu-koray-loopworks-2-discrepant-uk-lp-cd","title":"KANTARCIOGLU, KORAY - Loopworks 2","description":"\u003cp\u003e\"Discrepant presents Istanbul based audio\/visual artist Koray Kantarcıoğlu's follow-up to his debut album Loopworks (CREP 059LP, 2018). Whilst the first volume used '60s and '70s Turkish records as source material, Loopworks 2 expands the sampling pool to local records as well as snippets from '70s TV and '80s new age and jazz tapes. This disparate material is mangled and glued together with Koray's very personal sampling techniques. This result becomes a dreamy, haunted and enigmatic collection of floating vignettes. Koray also enlists the help of local musicians such as Ekin Fil, who contributed to the album with haunting vocals and sound textures as well as Berke Can Özcan who adds drums and percussion into the haunted mix. The LP comes with a bonus CD entitled Loopworks 2 Extras, that could be another album itself, created from extra material that couldn't make it to the LP. Composed in 2020 and 2021.\" - Discrepant.\u003c\/p\u003e","brand":"Discrepant","offers":[{"title":"LP \u0026 CD","offer_id":43113803284699,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/CREP091LP_CU.jpg?v=1659011361"},{"product_id":"bradshaw-leather-don-distance-between-us-distance-uk-2cd","title":"BRADSHAW-LEATHER, DON - Distance Between Us","description":"\u003cp\u003e\"Reissue of the cult 1972 album. During the long, dark hangover of the \"Summer of Love\", the classically-trained Essex prodigy approached CBS Records with demo recordings. A forward-thinking A\u0026amp;R executive must have seen a potential revenue stream in Don Bradshaw-Leather's avant-classical noise. The artist was given an advance to record an album. He used the funds to create a large studio in Sussex with many instruments including an actual church organ. Here, on his own, without the use of any electronic sequencing, he recorded Distance Between Us using multitrack tape, layering each part of the composition. Upon hearing the product of their financial investment -- four side-long tracks of blurry organ drones, frantic piano tinkling, and ritualistic percussion -- CBS got cold feet. The album was self-released on Bradshaw-Leather's own Distance imprint; a vanity label established for the sole purpose of releasing the album. The sleeve art is full of mysteries, from the misspelling of \"Bradshaw\" (\"Bradsham\"), to the coal-blackened visage of the bohemian madman on the cover (DBL himself?), to the rear photo collage depicting the same madman accosting a nude woman. The music isn't any less mysterious; shapeless symphonies of smeared-out Mellotron, tribal drums, and wordless vocals. Don Bradshaw-Leather passed away in the '90s. Presented in a matt-laminate gatefold digisleeve.\" - Distance.\u003c\/p\u003e","brand":"Distance","offers":[{"title":"Double CD","offer_id":43113803350235,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/DIST101CD_CU.jpg?v=1659011362"},{"product_id":"new-life-trio-visions-of-the-third-eye-early-future-records-finders-keepers-records-uk-lp","title":"NEW LIFE TRIO - Visions Of The Third Eye","description":"\u003cp\u003e\"The late great drummer Steve Reid reissued eclectic recordings on his own Mustevic Sound label which gave his career a second wind. Though teased on a well-received compilation, one Mustevic release never saw reissue: New Life Trio's Visions Of The Third Eye, a tremendous collaborative effort between Reid, guitarist Brandon Ross and bassist David Wertman. Early Future Records is proud to announce the reissue of the classic, final Mustevic recording for the first time as a limited-edition vinyl release. The release also includes a 20-page written zine featuring an in-depth testimonial and interview with Brandon Ross, and an explorative essay by Finders Keepers' Andy Votel, as well as a wealth of archival photos, scores, and reviews. Reid's long and varied career began in his native New York City, where he was involved early on as a member of the Apollo Theater House Band and the R\u0026amp;B scene of the 1960s, including recordings with Martha Reeves and James Brown. In the late 1960s, Reid spent three years in West Africa absorbing musical traditions and experimenting with artists such as Fela Kuti, Guy Warren, and Randy Weston. After a stint in prison for dodging the draft as a conscientious objector, the drummer came out swinging in the 1970s. He worked regularly as a session and Broadway musician even while immersing himself into the jazz world. The do-it-yourself ethos of the New York Loft Scene inspired Reid to create his own label, Mustevic Sound. A friend involved with the label was David Wertman, a young bassist from New York who released his own Kara Suite on Mustevic in 1976. New Life Trio's story began when Wertman moved from New York to the more sedate but creatively vibrant town of Northampton, Massachusetts. Here, Wertman met Brandon Ross, a young guitarist from New Jersey who had relocated there with his brother to join a coterie of New York expats who had found a comfortable, collaborative environment amidst the liberal college towns in the area, including avant-garde legends Archie Shepp and Marion Brown. Wertman and Ross became friends and began to perform together regularly, both formally and informally. A string trio of Wertman, Ross and violinist Terry Jenoure was set to record, but Jenoure dropped out just prior to the date. This led Wertman to call his friend Steve Reid to come join the two at the Tin Pan Hollow Studios in Vermont to record what would become Visions Of The Third Eye on December 6, 1978. Originally conceived as an all-acoustic date, the recording would morph slightly when Ross added electric guitar muscle on a number of pieces. Reid would then take the helm and release the recording in 1980, giving a very auspicious birth to what has now become a classic spiritual jazz recording. Fast forward to 1995... New Life Trio gets a belated second wind from Stuart Baker's inclusion of the Ross-voiced \"Empty Streets\" on his Universal Sounds of America compilation. Visions Of The Third Eye became a kind of \"holy grail\" record for collectors of jazz and creative music. The album's cover image was even incorporated into the cover of Freedom, Rhythm \u0026amp; Sound (2009), a wonderful coffee table book presenting album covers from those revolutionary decades in Black creative music.\" - Early Future Records\/Finders Keepers Records.\u003c\/p\u003e","brand":"Early Future\/Finders Keepers","offers":[{"title":"LP","offer_id":43113803481307,"sku":"","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/EFR003LP_CU.jpg?v=1659011364"},{"product_id":"parker-william-the-little-huey-creative-music-orchestra-raincoat-in-the-river-eremite-cd","title":"PARKER, WILLIAM \u0026 THE LITTLE HUEY CREATIVE MUSIC ORCHESTRA - Raincoat in the River","description":"\u003cp\u003e\"2022 restock; 2001 release. Vol I of the 2001 ICA concert in Boston, recorded on 23 February 2001. A 17-piece version of Little Huey perform Parker's five-section narrative suite based on the life of the late street musician Marvin Nunez (aka Uncle Marvin). Featured soloists include Parker (who solos four times on four different instruments), Roy Campbell Jr, Rob Brown, and vocalist Leena Conquest. A considerable leap forward in recording quality from the band's highly estimable past productions.\" - Eremite.\u003c\/p\u003e","brand":"Eremite","offers":[{"title":"CD","offer_id":43113803514075,"sku":"","price":11.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/MTE036CD_CU.jpg?v=1659011365"},{"product_id":"sarnadas-the-hum-favela-discos-portugal-2cd","title":"SARNADAS - The Hum","description":"\u003cp\u003e\"The Hum is the debut opus of Sarnadas, a Portuguese transdisciplinary artist working sound, image, space and everything in between. The four hour-plus long album, set to be released in two parts, is a direct consequence of his work with the disruptive artistic collective Favela Discos. By suspending some protocols but, most importantly, by suspending time itself in a seamless never-ending loop of layered melodies, Sarnadas allows himself to focus on developing new possibilities with the manipulation of the context created, rather than relying on the false necessity of constant output. Over the 15 pieces of deeply moving, bright, but calming music, Sarnadas waives off rigid musical structures to loop, overdub, and erect layers of synth phrases which relate to each other in the enclosed environment of The Hum. The Porto-based musician prompts his search for melodic opulence in the seemingly still soundscape of organic repetitiveness, where the encounter plays as big of a role as controlled randomness and the mismatch of melodies, sounds and textures. Sarnadas's approach to music writing allows details to be generated, rather than forced into music, creating a state of conscious lethargy where dreaming plays an active role on the outcome of sound. Recorded live throughout two days, the two-part album is reflective of Sarnadas's need to suspend time and figure out a new pathos by allowing himself to work endlessly on the single output of choice: a three-oscillator homemade synth constructed by his long-time collaborator Inês Castanheira (Well). This simple instrument, paired with a mixer and pedalboard paraphernalia, freed him to work loops, textures, brightness and chance into a compelling design of organic and mutating spaces. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.\" - Favela Discos.\u003c\/p\u003e","brand":"Favela Discos","offers":[{"title":"Double CD","offer_id":43113803645147,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FAVELA057CD_CU.jpg?v=1659011367"},{"product_id":"sarnadas-the-humm-favela-discos-portugal-2cd","title":"SARNADAS - The Humm","description":"\u003cp\u003e\"Sarnadas, a multi-disciplinary artist based in Porto, returns with the second instalment of his drone opus The Hum. Titled The Humm, this second long-play album follows the first record, having resulted from the same two-day, extensive and intensive composing sessions during which the producer created eight hours of layered, ambient music. Sarnadas focused his endeavor on a stripped-down setup comprised of just a homemade synth, a mixer and some effects pedals, generating various layers of sound and manipulating their overlapping and apparently random relationship to create eight pieces of spatial, dreamy music, with ever-changing organic plasticity. The concept behind the double album The Hum lies in the new moniker Sarnadas, also known for his singer-songwriter Coelho Radiactivo persona, or as João Sarnadas, one of Favela collective's spearheads. As Sarnadas, the musician focuses on a more melodic approach to sound, unravelling new possibilities by relating simple elements, shifting over time and space. Drawing inspiration from the idea of cities humming their own tunes, as an expression of all things urban playing in the background, The Hum series describes Porto and Aveiro (Sarnadas's native city) pulsing lives through nuanced drones. Over the first long-play, Sarnadas created a series of bleak ambient pieces, with saturated sounds overwhelming senses as a means to create images surpassing the reality of each city. The Humm, on the other hand, all pieces of music shift from a lucid-dream feeling to a sensation closer to waking up, soberer and graced by dawn, where less abrasive layers allow the interpretation of clearer forms and images. Die-cut cover with two printed inner sleeves and sealed outer plastic sleeve.\" - Favela Discos.\u003c\/p\u003e","brand":"Favela Discos","offers":[{"title":"Double CD","offer_id":43113803710683,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FAVELA058CD_CU.jpg?v=1659011368"},{"product_id":"desilusao-optica-in-trux-we-pux-02-favela-discos-portugal-lp","title":"DESILUSAO OPTICA - In Trux We Pux 02","description":"\u003cp\u003e\"In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 02 contains the first of Favela Discos' collective pieces to be published, and it was chosen to represent a long series of site-specific pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label's archives. Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object. Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound you hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds. The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when you watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses. Like in dub music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master\/sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals. Printed inner sleeve.\" - Favela Discos.\u003c\/p\u003e","brand":"Favela Discos","offers":[{"title":"LP","offer_id":43113803808987,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FAVELA052LP_CU.jpg?v=1659011370"},{"product_id":"milteto-in-trux-we-pux-03-favela-discos-portugal-lp","title":"MILTETO - In Trux We Pux 03","description":"\u003cp\u003e\"In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. Milteto is an informal orchestra born out of the Favela Discos collective somewhere in 2014. The idea, that had been around for a while, was materialized for a concert in one of the first events hosted by Favela, in the extinct Picadilly Pub in Porto, a small strip club turned underground venue. It was one of those wet pre-covid nights where the condensation dripped down the mirrored walls, in a loud endurance contest that resulted in a fainted audience member. For a very large number of reasons, it would be hard to define Milteto's whole \"career\" in an album: the band has always inhabited the live context, trying to create massive immersive sound experiences for both the listeners and the musicians, subconsciously seeking to achieve transcendence by volume. So, in reality this is a momentary reflection of an always mutating entity, instead of trying to define the several years of drastically different experiences in just 45 minutes, they took to the album as just another live presentation where they adapted to the idea of what a record could be as if they would adapt to a venue. Faced with the idea of creating an album that reflected the project's mutability, the band looked at the medium itself for inspiration, as the vinyl record has two sides, they thought that maybe it would be a good idea to reflect that on the music. So, the recording sessions were split into two days, with two different groups of guests. One side set to recreate a more physical manifestation of the band, the other a more mental side, the first teeming with percussion, the other with electronic devices and synthesizers. Printed inner sleeve.\" - Favela Discos.\u003c\/p\u003e","brand":"Favela Discos","offers":[{"title":"LP","offer_id":43113803841755,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FAVELA053LP_CU.jpg?v=1659011371"},{"product_id":"va-in-trux-we-pux-04-favela-discos-portugal-lp","title":"V\/A - In Trux We Pux 04","description":"\u003cp\u003e\"In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city's thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years. In Trux We Pux 04 is the last in a series of four records organized by Favela Discos, set out to shine a light on Porto's thriving experimental and improvised music scene. Throughout the collection the label tries to expose the eclectic sound and collaborative practices that have been in development in the last few years in the city by promoting the collaboration between artists and the creation of new collective improvisation pieces. As the first album dwelled into the electronic specter of the scene, this volume veers itself to the physical side of experimental and improvised explorations. Although there is space for outsiders manipulating the sound by electronic means, most of the music in this album is plucked, bowed, percussed or sung. The artists themselves are as varied as the music they played, among the 13 artists that collaborated for the creation of this album are many promising newcomers but also some of the more recognizable and relevant names in the scene, with the presence of the Sonoscopia founder Gustavo Costa, João Pais Filipe, one of the most characteristic drummers in Portugal, and the DIY duo and underground staple Calhau!  As you could suspect, the diverse selection of musicians, while providing you a view on the various kinds of musical languages that populate the city's scene, also creates a dynamic collection of sounds. Spanning a large gamut of sub-sub-genres, from near-musique concrète to tribal noise, the album is a rollercoaster collage that miraculously achieves logic and cohesion, like a voyeur listener taking you on a journey through an abandoned mall where most of the bands in Porto rehearse, whose halls reverberate with a cacophony of music. Also features Diogo Jesus, David Machado \u0026amp; Nuno Pinto, Jorge Queijo \u0026amp; Tiago Ângelo, Dora Vieira \u0026amp; João Pais Filipe, Angélica, and Filipe Felizardo \u0026amp; Nuno O. Printed inner sleeve.\" - Favela Discos.\u003c\/p\u003e","brand":"Favela Discos","offers":[{"title":"LP","offer_id":43113803940059,"sku":"","price":21.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FAVELA054LP_CU.jpg?v=1659011373"},{"product_id":"alexander-jeffrey-flutterings-feeding-tube-records-cd","title":"ALEXANDER, JEFFREY - Flutterings","description":"\u003cp\u003e\"Jeffrey Alexander is one of those guys whose brain and hands are constantly in motion whether working with bands, doing solo stuff, installations, paintings, label shit... whatever. Anyway, he's always a pleasure to work with, and we have done so on many occasions. That said, I sorta feel as though this new CD might be closer to taking a walk through Jeffrey's head than anything else I've heard. Flutterings was done using guitars, keys, percussion, electronics and gimcracks of all descriptions. The pieces were created specifically to be used inside the Tactile Dome at San Francisco's Exploratorium, which is one of the more delightful places yet invented by humans. The Dome itself is almost like a sensory deprivation maze, pitch black, through which you feel your way before being popped back out into the light. This music was broadcast inside the darkness, so that folks would have a way to orient themselves via sound. Cool idea, and cooler music. Although they don't really share any common construction details, this music puts me in mind of Ned Lagin's Seastones project (IMPREC 479LP), maybe with a little Hooteroll stirred in. What they all share is a sense of occupying middle ground between 'serious' music and purely stoned improvisation. Even though you understand on some level this shit is being done with compositional intent, there's a looseness to the details that makes it a very fine album to just space out to. Melodies aren't the point so much as harmonics and a general flow that will not be stanched. It is a very fine soundtrack for losing your ego, if you know what I mean. The material on Flutterings was recorded in the mid-Teens, but only really got assembled for release during the Lockdown. Proof again, that lots of good things have been happening in the background, no matter how dire the foreground can appear. A lesson worth remembering.\" - Byron Coley, 2022.\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"CD","offer_id":43113803972827,"sku":"","price":13.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR695CD_CU.jpg?v=1659011374"},{"product_id":"thayer-lloyd-twenty20-feeding-tube-records-cd","title":"THAYER, LLOYD - Twenty20","description":"\u003cp\u003e\"It has been a couple of years (that felt like a lifetime) since we released lloyd Thayer's last album, Duets (FTR 406LP, 2020), which he recorded with the drummer Jerome Deupree. The intervening time has been weird as hell, but Thayer (master of every string that's ever been strung) has made the decision to create a fantastic, sprawling solo suite for himself. And now it is time to share the beauty with you. Unlike the music on Duets, the piece here was played entirely on double-necked Weissenborn guitar, although the sounds are altered and layered in ways that are a far cry from the delicate slide work for which the Weissenborn is best known. And if there's not a temple bowl in the mix somewhere, I'll eat a bottleneck! Still, many of the same tactics employed on Duets, like mixing Eastern sonances with blues-based art music, are on full display on Twenty20. The extended piece is broken into distinct segments, with different moods, tones, and styles of attack, but the transitions tend to be subtle. You are drifting amidst cool tendrils of acoustic guitar and almost before you know it, there are sparking cables of electrical menace hanging nearby while ghost-tones quiver ominously in the darkness. Because this piece evolved over the two years it did, I am assuming there's a dark narrative thread lurking somewhere in its interior. But here's the thing -- lloyd's playing and writing are as beautiful to listen to as ever, so I'm not sure it's really worth getting bogged down in interpretation. Perhaps the best idea is to just go with the exquisite flow of the music, and damn the torpedoes. Just dig the beauty. Y'know?\" - Byron Coley, 2022.\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"CD","offer_id":43113804071131,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR698CD_CU.jpg?v=1659011377"},{"product_id":"kool-music-dagobah-feeding-tube-records-lp","title":"KOOL MUSIC - Dagobah","description":"\u003cp\u003e\"Dagobah is the first LP (following a couple of cassettes and a CD) by Kool Music, the solo guitar project helmed by Glasgow-based polymath, Jasper Baydala. Jasper has previously had some exposure on the label, when his image appeared on the cover of Joanne Robertson's Black Moon Days LP (FTR 179LP, 2015). At that point we knew of Jasper as a video artist and writer, but Joanne assured us he was an excellent musician as well. And so began the road to Dagobah. The soubriquet Kool Music has a bit of a hip-hop heft to it, but the 14 tracks here present a very different picture. Jasper has said that when he first hoisted the Kool Music flag, in Canada back in 2010, its sound was something of a cross between country music and Asian string traditions. Easy aural evidence of those roots has vanished over the past dozen years. The music on Dagobah has certain tonal similarities to the UK free music tradition, but the pieces display a humanity and sense of humor that (rightly or wrongly) we don't always associate with that scene. Each of the tracks is a solo electric guitar instrumental, usually taken at a slow pace with carefully built layers of sound that often overlap and decay before Kool Music moves on to the next trope. This gives the music a meditative quality, but the mildly casual dissonances make it tough for listeners to just float along on the sound. In that sense, Kool Music demands your attention. Although generally in the politest way imaginable. Every time I spin Dagobah I hear a bunch of new details. And they're really engaging. As is this whole damn album. And if you let yourself sink into its web, I do believe you will feel just the same. Now that's Kool Music.\" - Byron Coley, 2022.\u003c\/p\u003e","brand":"Feeding Tube","offers":[{"title":"LP","offer_id":43113804103899,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/FTR612LP_CU.jpg?v=1659011378"},{"product_id":"lane-danny-scott-wave-to-mikey-glossy-mistakes-spain-lp","title":"LANE, DANNY SCOTT - Wave To Mikey","description":"\u003cp\u003e\"Wave to Mikey, the fourth album from the Los Angeles-based actor, musician, and photographer Danny Lane is a nocturnal, neon-lit ode to the friendships that shape us. \"I made this album for my friend Mikey from back home,\" Danny explains. \"We were pretty much inseparable for a large part of our lives, and our musical and social minds were always in sync in a special way. Then with age, we drifted apart, especially since I moved to Los Angeles. This album is just a little wave hello to an old friend and a kindred spirit.\" Equal parts avant-garde composition, instrumental city-pop, ambient, Kankyō Ongaku (environmental music), and fourth world music, Wave to Mikey is an impressionistic and reflective cycle of eleven richly detailed memory portraits. Throughout the album, the influence of Jon Hassell, Arthur Russell, Hiroshi Yoshimura, and Yellow Magic Orchestra hangs in the air like late-night mist, adding character but never overshadowing the rhythmic ambience of Danny's musical visions. Wave To Mikey began as a series of sketches on analog synthesizers, guitar, sample and found percussion sketches, initially recorded in Danny's home studio. Once he'd located the vibe, Danny called on his friends E Talley II, Solange collaborator John Carroll Kirby, and Destroyer session musician Joseph Shabason, who respectively added flute, spiritual synth textures and saxophone to the record. For Glossy Mistakes founder Mario G.R., who originally discovered Danny through his photography, Wave To Mikey captures a vivid feeling of melancholy and peace. Wave To Mikey marks Glossy Mistakes' second contemporary album release, following on from Evenings by Japanese composer Metoronori. Mastered by Damian Schwartz.\u003c\/p\u003e\n\n\u003cp\u003eBorn and raised in Staten Island, New York, Danny began playing music with his friends when he was thirteen, before putting that passion on pause to study Fine Arts (Theater) at Rider University in Lawrence Township in pursuit of an acting career. Acting led him to photography, after playing a photographer in a film, he was inspired to pursue the medium. Danny began shooting photos on film for magazines and lifestyle brands, spent a stint living in New York's Chinatown neighborhood, and eventually relocated to Los Angeles in 2017.  Four years ago, Danny started recording and releasing music under his own name, leading to the trilogy of releases that preceded Wave To Mikey, How To Empty A Cup (2019), Memory Record (2019), and CAPUT (2021). Over the course of these releases, he's revealed himself to be a sophisticated composer and producer with a studied ear from years spent digging through record bins for ambient, experimental, new age, jazz, and electronica records from around the globe, with a particular emphasis on Japan.\" - Glossy Mistakes.\u003c\/p\u003e","brand":"Glossy Mistakes","offers":[{"title":"LP","offer_id":43113804267739,"sku":"","price":36.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/GLOSSY011LP_CU.jpg?v=1659011383"},{"product_id":"ablinger-peter-orchesterstucke-god-records-austria-lp","title":"ABLINGER, PETER - Orchesterstucke","description":"\u003cp\u003e\"2020 release. Peter Ablinger is one of home composers of GOD Records. His cult releases Regenstücke 1 and 2 (GODREC 018LP) and Voices and Piano (GODREC 034LP) are part of every serious record collection around the globe. With Orchesterstücke, Ablinger finally delivers some of his remarkable orchestra pieces in last ten years. The release contains three of Ablinger's orchestra pieces: \"Quartz\", \"Wachstum, Massenmord\", and highly controversial piece \"4 Weiss\", for orchestra and white noise, the piece that caused utterly polarized reactions at its premiere on 2019 edition of festival Wien Modern. This LP documents notorious event in the best possible way -- stunning performance and angry audience reaction. Transparent red vinyl.\" - God Records.\u003c\/p\u003e","brand":"God","offers":[{"title":"LP","offer_id":43113804366043,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/products\/GODREC061LP_CU.jpg?v=1659011384"}],"url":"https:\/\/www.fusetronsound.com\/collections\/august-1-2022.oembed?page=4","provider":"fusetron","version":"1.0","type":"link"}