{"title":"BULK DISCOUNT ON SELECT NEW ARRIVALS","description":"\u003cp\u003e10% OFF 100 DOLLARS OR MORE ON TITLES IN THIS COLLECTION\u003c\/p\u003e","products":[{"product_id":"autonamous-rex-autonamous-rex","title":"AUTONAMOUS REX - Autonamous Rex","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Private mid-1990s tape\/noise experimentations by \u003c\/span\u003e\u003cb\u003eStuart Dennison\u003c\/b\u003e\u003cspan\u003e, the venerable common denominator between \u003c\/span\u003e\u003cb\u003eRamleh\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eSkullflower\u003c\/b\u003e\u003cspan\u003e. Why: An endeavor to make something without the compromise inherent in collaboration: \u003c\/span\u003e\u003cb\u003eAutonomous Rex\u003c\/b\u003e\u003cspan\u003e. How: Handmade tape loops, guitar, Copicat tape delay, whispering, time.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Nashazphone","offers":[{"title":"LP","offer_id":46834281251035,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/NP052LP_PROD.jpg?v=1748485414"},{"product_id":"brent-lewiis-ensemble-the-rammed-earth","title":"BREN'T LEWIIS ENSEMBLE, THE - Rammed Earth","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cb\u003e\"Bren't Lewiis Ensemble\u003c\/b\u003e\u003cspan\u003e -- Northern California's gift to the world -- offer five dense and haunted tape\/electronics cuts recorded a few years ago for a world that was not yet ready and therefore were carefully stored. A soundtrack that justifies all purpose and passion for modern emerging hype trends.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"I realized [that the significance of work put together specifically to annoy listeners lies in its capacity to illuminate some of the key problems in sound culture today] in an epiphanic flash while reading a quote cited by \u003c\/span\u003e\u003cb\u003eWalter Benjamin\u003c\/b\u003e\u003cspan\u003e: 'Truth lies in the extreme.' He meant that no genre of art can be defined by its lowest common denominators, only by its most aberrant exemplars -- thus at a stroke explaining the value to criticism of \u003c\/span\u003e\u003cb\u003eRudoph Grey\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eThe Stooges\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eCharlie Feathers\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eElder Otis Jones\u003c\/b\u003e\u003cspan\u003e. To understand why this kind of lo-fi noise, willful absurdism, deliberate chaos and the rejection of meaning have become such ubiquitous touchstones of contemporary culture, we have to examine the Petri dishes of this tendency -- the underground cassette culture of the early 1980s -- and for this, BUFMS is locus classicus.\" --Dr. \u003c\/span\u003e\u003cb\u003eBruce Russel\"\u003c\/b\u003e\u003c\/p\u003e","brand":"Nashazphone","offers":[{"title":"LP","offer_id":46834316017883,"sku":"","price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/NP053LP_CU.jpg?v=1748485597"},{"product_id":"khan-salamat-ali-metamusik-festival-berlin-74","title":"KHAN, SALAMAT ALI - Metamusik Festival Berlin '74","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Carrying on from recent archival releases from masters of Indian classical tradition such as \u003c\/span\u003e\u003cb\u003eKamalesh Maitra\u003c\/b\u003e\u003cspan\u003e and the \u003c\/span\u003e\u003cb\u003eDagar Brothers\u003c\/b\u003e\u003cspan\u003e, Black Truffle presents a previously unheard recording of a concert by Pakistani vocalist \u003c\/span\u003e\u003cb\u003eSalamat Ali Khan\u003c\/b\u003e\u003cspan\u003e. Born to a musician family in Hoshiarpur in the northwestern state of Punjab, Khan moved with his family to Lahore in Pakistan after the 1947 partition of India, becoming a child musical prodigy. Khan was a master of the kyhal form of Hindustani classical vocal music, a style integrating influences from Middle Eastern musical traditions that gives the singer a great deal of improvisational freedom. Travelling widely across the globe from the 1960s until his death in 2001, Khan approached ragas performed in the kyhal style as expressive forums for risk-taking improvisation, enlivened by ceaseless ornamental invention. This remarkable recording was captured by \u003c\/span\u003e\u003cb\u003eMichael Hönig\u003c\/b\u003e\u003cspan\u003e (of krautrock legends \u003c\/span\u003e\u003cb\u003eAgitation Free\u003c\/b\u003e\u003cspan\u003e) in concert at Berlin's Neue Nationalgalerie as part of the MetaMusik festival in 1974. Khan, who is also heard accompanying himself on a specially tuned alpine zither (in place of the traditional swarmandal, an Indian style of zither), is joined by \u003c\/span\u003e\u003cb\u003eShaukat Hussein Khan\u003c\/b\u003e\u003cspan\u003e on tabla and \u003c\/span\u003e\u003cb\u003eHussein Bux Khan\u003c\/b\u003e\u003cspan\u003e on harmonium. The lack of a familiar underlying tanpura drone gives this performance a weightless, floating quality, with all three of the musicians playing masterfully with the interaction between silence and the pulse propelling each section of the raag. Virtuoso tabla interjections at first barely state the tempo, and the interplay between musicians is so spacious that we hear scraps of audience noise and the squeak of the harmonium's mechanism in between the notes. Gradually picking up rhythmic definition and melodic complexity, after around fifteen minutes the music builds dramatically, with Khan letting out emotive yelps and swooping scalar shapes ranging across his full vocal range. Accompanied by stunning black and white concert photographs, the LP also contains a moving and entertaining recollection from acclaimed German musicologist \u003c\/span\u003e\u003cb\u003ePeter Pannke\u003c\/b\u003e\u003cspan\u003e, looking back on his experience assisting Khan and his musicians in Berlin at the Metamusik festival (including a mouth-watering description of a feast cooked by the maestro himself). As Pannke describes in his account of attending the concert, the beauty and spiritual intensity of this music leaves the listener speechless.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Black Truffle","offers":[{"title":"LP","offer_id":46834513641691,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/BT129LP_CU.jpg?v=1748486134"},{"product_id":"parmegiani-bernard-lac-noir-la-serpente-1992","title":"PARMEGIANI, BERNARD - Lac Noir - La Serpente 1992","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"LP version. Unreleased material composed by \u003c\/span\u003e\u003cb\u003eBernard Parmegiani\u003c\/b\u003e\u003cspan\u003e in 1992. \u003c\/span\u003e\u003ci\u003eLac Noir - La Serpente\u003c\/i\u003e\u003cspan\u003e is part of \u003c\/span\u003e\u003cb\u003eEmmanuel Raquin-Lorenzi\u003c\/b\u003e\u003cspan\u003e's \u003c\/span\u003e\u003ci\u003eLac Noir\u003c\/i\u003e\u003cspan\u003e, a composite work inspired by a serpentine female creature or \"snake-woman\" that he saw in Transylvania in 1976, with a total of 33 pieces using various media, 24 by himself and 9 by other artists. All the materials used in \u003c\/span\u003e\u003ci\u003eLac Noir\u003c\/i\u003e\u003cspan\u003e were gathered on the land of the snake-woman between 1990 and 1992. The first coordinated broadcast ran from June to October 2019, like a theatrical display of media.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"At the end of May 1992, in Provence, in his Summer studio not far from the Montagne Sainte-Victoire, Bernard Parmegiani played the first musical moments he had worked on from the sounds he and \u003c\/span\u003e\u003cb\u003eChristian Zanési\u003c\/b\u003e\u003cspan\u003e had collected in Negreni in October 1990. A few days after this listening session, on 4th June, I wrote him a letter. I didn't mean to take control of what was to become the ninth movement of his composition, but to share with him some of the resonances I had heard in what he had composed, which mingled with my dreams and memories of the Transylvanian snake-woman, and outlined possible concordances with the other pieces underway for \u003c\/span\u003e\u003ci\u003eLac Noir\u003c\/i\u003e\u003cspan\u003e. In the midst of the garish chaos of the fair and its spectacular stunts, there could spread out -- still, silent eye of the cyclone -- the long waters of a lake. Calm waters. Patches cool but sensitive as skin. Between the waters there flows and ripples, there shows up and dives again a snake-woman born of the still waters. A sweet, good serpent whose song -- strange and melodious, sensual, yet already tinged, as if bitten by the black depths, with bitterness; that of prescience, shading it with melancholy -- is her very undulation, the rings of which appear, together or in turn, the way translucent veins overlap, slither over one another in a moving braid of metamorphoses.\" (Extracts from notes by \u003c\/span\u003e\u003cb\u003eE. Raquin-Lorenzi\u003c\/b\u003e\u003cspan\u003e)\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sub Rosa","offers":[{"title":"LP","offer_id":46839640850651,"sku":null,"price":29.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SR464LP_CU.jpg?v=1748614582"},{"product_id":"va-tsapiky-modern-music-from-southwest-madagascar","title":"VA - Tsapiky! Modern Music From Southwest Madagascar","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by \u003c\/span\u003e\u003cb\u003eMaxime Bobo\u003c\/b\u003e\u003cspan\u003e, this vinyl LP includes a four-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFeaturing \u003c\/span\u003e\u003cb\u003eMamehy\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDrick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBefila\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBehaja\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMahafaly Mihisa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMeny \u0026amp; Ando\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRebona\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMirasoa \u0026amp; Mahapoteke\u003c\/b\u003e\u003cspan\u003e.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sublime Frequencies","offers":[{"title":"LP","offer_id":46839649009883,"sku":null,"price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SF126LP_CU.jpg?v=1748614693"},{"product_id":"shino-ayane-river-the-timbre-of-guitar-2-rei-harakami","title":"SHINO, AYANE - River: The Timbre Of Guitar #2 - Rei Harakami","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003ci\u003e\"River: The Timbre of Guitar #2 - Rei Harakami\u003c\/i\u003e\u003cspan\u003e signals a new level of awareness and understanding of both \u003c\/span\u003e\u003cb\u003eRei Harakami\u003c\/b\u003e\u003cspan\u003e's significance and \u003c\/span\u003e\u003cb\u003eAyane Shino\u003c\/b\u003e\u003cspan\u003e's undeniable talent. In 1996 Tokyo-based label Sublime Records received a cassette demo from Rei Harakami, a 26-year-old Japanese experimental filmmaker, and musician. Within one year, Harakami's debut LP \u003c\/span\u003e\u003ci\u003eUnrest\u003c\/i\u003e\u003cspan\u003e was released. As the 21st century dawned, Harakami was becoming a critically acclaimed figure, and there was a feeling in Japan that Harakami would be an inevitable successor to such luminaries as \u003c\/span\u003e\u003cb\u003eHaruomi Hosono\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eRyuichi Sakamoto\u003c\/b\u003e\u003cspan\u003e. Sadly Harakami passed away at age 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. A fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. Continuing her album series \u003c\/span\u003e\u003ci\u003eThe Timbre of Guitar\u003c\/i\u003e\u003cspan\u003e, she now presents \u003c\/span\u003e\u003ci\u003eRiver: The Timbre of Guitar #2 - Rei Harakami\u003c\/i\u003e\u003cspan\u003e. Ayane has reworked some of Harakami's standout tracks into an album of tranquil yet complex compositions helping to build a new level of awareness and understanding of Rei Harakami's significance. A collection of ten hypnotic guitar renditions that dive deeply into the traditional compositional musicality that underpins Harakami's hallucinatory beatscapes before reconsidering them under a fresh, innovative and engaging new light. During her time completing a masters at Tokyo's University of the Arts, Shino became fascinated by \u003c\/span\u003e\u003cb\u003eBrian Eno\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eAphex Twin\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eOneohtrix Point Never\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eSteve Reich\u003c\/b\u003e\u003cspan\u003e, and, closer to home, Harakami and \u003c\/span\u003e\u003cb\u003eSusumu Yokota\u003c\/b\u003e\u003cspan\u003e. On her approach to the album, Ayane explains: \"For this album, I succeeded in spinning some exquisite, silk thread like delicate tones, interwoven with human warmth, gentleness and simplicity. And I was also able to rework Rei Harakami's distinctive sound with a floating feel to it and transform it into a very classical guitar sound. I hope many people will be able to receive this group of sounds that I created in this album that I played with all my heart.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFeaturing \u003c\/span\u003e\u003cb\u003eMamehy\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDrick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBefila\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBehaja\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMahafaly Mihisa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMeny \u0026amp; Ando\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRebona\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMirasoa \u0026amp; Mahapoteke\u003c\/b\u003e\u003cspan\u003e.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Musicmine","offers":[{"title":"LP","offer_id":46839655989467,"sku":null,"price":32.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/MMDS25002LP_CU.jpg?v=1748614824"},{"product_id":"va-born-in-the-city-of-tanta-lower-egyptian-urban-folklore-and-bedouin-shaabi-from-libyas-bourini-records-1968-75","title":"VA - Born in the City of Tanta - Lower Egyptian Urban Folklore and Bedouin Shaabi from Libya's Bourini Records 1968-75","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Egypt's \"official\" popular music throughout much of the 20th Century was a complex form of art song steeped in tradition, well-loved by the middle and upper classes, and even accommodating to certain non-Arabic influences. It was highly structured by professional musicians working an established industry centered in the capitol, Cairo. However, far from the bustling cosmopolitan center of Cairo, north and northwest, in towns like Tanta and Alexandria and extending across the Saharan Desert to the Libyan border, dozens of fully marginalized artists were developing a raw, hybrid shaabi\/al-musiqa al-shabiya style of music, supported by smaller upstart, independent labels, including the short-lived but deeply resonant Bourini Records. Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer \u003c\/span\u003e\u003cb\u003eSheikh Amin Abdel Qader\u003c\/b\u003e\u003cspan\u003e and the blind Bedouin legend \u003c\/span\u003e\u003cb\u003eAbu Bakr Abdel Aziz\u003c\/b\u003e\u003cspan\u003e (aka \u003c\/span\u003e\u003cb\u003eAbu Abab\u003c\/b\u003e\u003cspan\u003e). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from \u003c\/span\u003e\u003cb\u003eBasis Rahouma\u003c\/b\u003e\u003cspan\u003e's beastly transformation into a growling and barking man-lion by the end of \"Yana Alla Nafsa Masouda,\" to \u003c\/span\u003e\u003cb\u003eReem Kamal\u003c\/b\u003e\u003cspan\u003e's hopeful-if-bitter handclapping party pivot \"Baed Al Yas Yjini,\" which descends into an almost \u003c\/span\u003e\u003cb\u003eVelvet Underground\u003c\/b\u003e\u003cspan\u003e outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in \u003c\/span\u003e\u003cb\u003eMahmoud al-Sandidi\u003c\/b\u003e\u003cspan\u003e's \"Ana Mish Hafwatak,\" wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab's \"Al Bint al Libya,\" a sparse, slow-burning lament with minimal percussion, violin, and Abab's nephew \u003c\/span\u003e\u003cb\u003eHamed Abdel Muna'im Mursi\u003c\/b\u003e\u003cspan\u003e on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. We hear these artists as if they'd just joined us in our living room, and not on a stage decades ago surrounded by tens of thousands of long-forgotten acolytes.\"\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFeaturing \u003c\/span\u003e\u003cb\u003eMamehy\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDrick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBefila\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBehaja\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMahafaly Mihisa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMeny \u0026amp; Ando\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRebona\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMirasoa \u0026amp; Mahapoteke\u003c\/b\u003e\u003cspan\u003e.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sublime Frequencies","offers":[{"title":"LP","offer_id":46839689576667,"sku":null,"price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SF127LP_CU.jpg?v=1748614976"},{"product_id":"wire-the-496-june-2025","title":"WIRE, THE - #496 June 2025","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"On The Cover: \u003c\/span\u003e\u003cb\u003eCosey Fanni Tutti\u003c\/b\u003e\u003cspan\u003e. There are few artists on the frontier between music and performance\/body art as influential as Cosey Fanni Tutti. An early member of the COUM Transmissions collective, she would co-found the group's trailblazing offshoot \u003c\/span\u003e\u003cb\u003eThrobbing Gristle\u003c\/b\u003e\u003cspan\u003e before she and \u003c\/span\u003e\u003cb\u003eChris Carter\u003c\/b\u003e\u003cspan\u003e launched their long-running duo \u003c\/span\u003e\u003cb\u003eChris \u0026amp; Cosey\u003c\/b\u003e\u003cspan\u003e (later \u003c\/span\u003e\u003cb\u003eCarter Tutti\u003c\/b\u003e\u003cspan\u003e) after TG's first disbandment in 1981. Recent years have seen her withdraw from music to focus on writing, leading to the publication of books like \u003c\/span\u003e\u003ci\u003eRe-sisters\u003c\/i\u003e\u003cspan\u003e and her autobiography \u003c\/span\u003e\u003ci\u003eArt, Sex, Music\u003c\/i\u003e\u003cspan\u003e. By \u003c\/span\u003e\u003cb\u003eClaire Biddles\u003c\/b\u003e\u003cspan\u003e.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"The Wire","offers":[{"title":"Mag","offer_id":46840898846939,"sku":null,"price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/WIRE496_CU.jpg?v=1748639275"},{"product_id":"va-tsapiky-modern-music-from-southwest-madagascar-1","title":"VA - Tsapiky! Modern Music From Southwest Madagascar","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Tsapiky music from Southwest Madagascar features wild ecstatic vocals, distorted electric guitars, rocket bass, and the amphetamine beat! Unlike anything else, this is THE high life music you've always wanted -- ceremonial music played with abandon and extreme intent, honoring the living and dead alike. In Toliara and its surrounding region, funerals, weddings, circumcisions and other rites of passage have been celebrated for decades in ceremonies called mandriampototse. During these celebrations -- which last between three and seven days -- cigarettes, beer and toaky gasy (artisanal rum) are passed around while electric orchestras play on the same dirt floor as the dancing crowds and zebus. The music, tsapiky, defies any classification. This compilation showcases the diversity of contemporary tsapiky music. Locally and even nationally renowned bands played their own songs on makeshift instruments, blaring through patched-up amps and horn speakers hung in tamarind trees, projecting the music kilometers away. Lead guitarists and female lead singers are the central figures of tsapiky. Driven as much by their creative impulses as by the need to stand out in a competitive market, the artists distinguish themselves stylistically through their lyrics, rhythms or guitar riffs. They must also master a wide repertoire of current tsapiky hits, which the families that attend inevitably request before parading in front of the orchestra with their offerings. This work, a constant push and pull between distinction and imitation, is nourished by fertile exchanges between various groups: acoustic and electric, rural and urban, coastal or inland. What results during these ceremonies is a music of astonishing intensity and creativity, played by artists carving out their own path, indifferent to the standards of any other music industry: Malagasy, African or global. Recorded live on location by \u003c\/span\u003e\u003cb\u003eMaxime Bobo\u003c\/b\u003e\u003cspan\u003e, this vinyl LP includes a four-page full-color insert with detailed liner notes plus photos of the musicians and surroundings.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eFeaturing \u003c\/span\u003e\u003cb\u003eMamehy\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eDrick\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBefila\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eBehaja\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMahafaly Mihisa\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eMeny \u0026amp; Ando\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eRebona\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eMirasoa \u0026amp; Mahapoteke\u003c\/b\u003e\u003cspan\u003e.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Sublime Frequencies","offers":[{"title":"CD","offer_id":46840916607195,"sku":null,"price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/SF126LP_CU.jpg?v=1748614693"},{"product_id":"amba-chris-corsano-bill-orcutt-zoh-the-flower-school-1","title":"AMBA\/CHRIS CORSANO\/BILL ORCUTT, ZOH - The Flower School","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Since exploding on the improvised music scene a couple of years ago Tennessee native \u003c\/span\u003e\u003cb\u003eZoh Amba\u003c\/b\u003e\u003cspan\u003e has found herself engaging with an ever-widening group of collaborators as she tours across the US and Europe. She's forged some enduring partnerships, working regularly with drummer \u003c\/span\u003e\u003cb\u003eChris Corsano\u003c\/b\u003e\u003cspan\u003e, bassist \u003c\/span\u003e\u003cb\u003eThomas Morgan\u003c\/b\u003e\u003cspan\u003e, and pianist \u003c\/span\u003e\u003cb\u003eMicah Thomas\u003c\/b\u003e\u003cspan\u003e, among others, but one of the deep pleasures of improvised music is when a first-time meeting produces sparks. Indeed, that's certainly the case with \u003c\/span\u003e\u003ci\u003eThe Flower School\u003c\/i\u003e\u003cspan\u003e, which bottles some serious lightning. In March of 2023, Amba and Corsano had finished up a duo tour of the west coast with an explosive performance in San Francisco. The next day the duo entered the studio with guitarist \u003c\/span\u003e\u003cb\u003eBill Orcutt\u003c\/b\u003e\u003cspan\u003e -- a trusted collaborator of the drummer stretching back a decade. It was the first time Orcutt and Amba had ever played together, but it sure doesn't seem that way. Although Amba has often recorded a bunch of tune-oriented albums for Tzadik, she's a free improviser at heart, and this trio arguably provides the most effective, elastic context for her playing yet. Yet what's most astonishing about \u003c\/span\u003e\u003ci\u003eThe Flower School\u003c\/i\u003e\u003cspan\u003e is how it elevates and transforms the playing of all three participants. It appears that there was more than enough trust in the room to allow each player to push-and-pull. Anyone who pays attention already knows that Orcutt and Corsano are mercurial figures, perpetually adapting, adjusting, and challenging one another. Inviting a third person to the party could threaten a slowly cultivated balance, but in this case the addition only heightened various dichotomies: soft vs. loud, bruising vs. tender, furious vs. lyric. Much has been made of Amba's debt to the free jazz of 1960s, particularly the way her vibrato-drenched tone dips into valley of sacred music, but here she carves out a space that's entirely hers. On tracks like \"The Morning Light Has Flooded My Eyes\" and \"What Emptiness Do You Gaze Upon!\" she reveals a meticulously sharpened gift for motific improvisation, taking a single phrase and chiseling away it until she's discovered every possible permutation, all the while driven by the feverish energy and empathy of her cohorts. This group also displays Orcutt's masterful support skills, as he often takes a single chord or two, letting them float in mutate in the background or splintering them into patient, reserved arpeggios that ripple alongside Corsano's circular sculptures and the saxophonist's edgy blowing. Two of the album's five tracks are duets between Orcutt and Amba. The collection is bisected by \"Sweet One,\" a delicate lattice formed by Orcutt's tremulous electric guitar arpeggios and Amba's spike acoustic pointillism that basks in its own leisurely beauty for a couple of restorative minutes, while the album closer \"Moon Showed But No You\" is a searingly beautiful ballad where the guitarist unspools clusters of notes somewhere between vintage \u003c\/span\u003e\u003cb\u003eLoren Mazzacane Connor\u003c\/b\u003e\u003cspan\u003e and a distorted kalimba, while Amba puts an upwardly arcing melodic line through its paces, finding new wrinkles at every turn.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Palilalia","offers":[{"title":"CD","offer_id":46851628335323,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/PAL076CD_CU.jpg?v=1749080168"},{"product_id":"tutti-cosey-fanni-2t2-1","title":"TUTTI, COSEY FANNI - 2t2","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"LP version. Composed, performed and produced by \u003c\/span\u003e\u003cb\u003eCosey Fanni Tutti\u003c\/b\u003e\u003cspan\u003e, this nine-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019's acclaimed album \u003c\/span\u003e\u003ci\u003eTUTTI\u003c\/i\u003e\u003cspan\u003e. It is a personal reflection; a sonic realization of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swinging world events. Centering on her own strength and self will, the album's two distinct parts -- one rhythmic, one more meditative -- are connected by an overwhelmingly positive mood. Even in the more melancholic moments, there's a lightness that she explains is an \"acknowledgement that it's alright to be sad, that's part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.\" There are also threads from her most recent projects running through \u003c\/span\u003e\u003ci\u003e2t2\u003c\/i\u003e\u003cspan\u003e. Cosey's process and the different strands that make up her work form a totality of vision. She goes on to say, \"Once you get creating and listening, weaving, collaging sound it's a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.\" The artwork reflects this idea that the album is a \"sound cameo,\" reflecting the light within the music, and the buzz of life that exists within all of Cosey's work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band \u003c\/span\u003e\u003cb\u003eThrobbing Gristle\u003c\/b\u003e\u003cspan\u003e, one half of electronic pioneers \u003c\/span\u003e\u003cb\u003eChris and Cosey\u003c\/b\u003e\u003cspan\u003e, and as an artist channeling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream.\"\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"CTI\/Conspiracy International","offers":[{"title":"LP","offer_id":46851635609819,"sku":"","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/CTI2T2CD2025_CU.jpg?v=1749080572"},{"product_id":"ancients-isaiah-collier-william-hooker-william-parker-the-the-ancients-1","title":"ANCIENTS (ISAIAH COLLIER, WILLIAM HOOKER, WILLIAM PARKER), THE - The Ancients","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"The debut recording by \u003c\/span\u003e\u003cb\u003eThe Ancients\u003c\/b\u003e\u003cspan\u003e, the intergenerational coalition of \u003c\/span\u003e\u003cb\u003eIsaiah Collier\u003c\/b\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cb\u003eWilliam Hooker\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eWilliam Parker\u003c\/b\u003e\u003cspan\u003e formed by Parker to play concerts in conjunction with the \u003c\/span\u003e\u003cb\u003eMilford Graves\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eMind Body Deal\u003c\/i\u003e\u003cspan\u003e exhibition at the Institute Of Contemporary Art Los Angeles and now a working group. Across two discs of long-form improvised sets recorded at 2220 Arts and Archives in LA and The Chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the \u003c\/span\u003e\u003cb\u003eCecil Taylor Unit\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eOrnette Coleman\u003c\/b\u003e\u003cspan\u003e's \u003c\/span\u003e\u003cb\u003eGolden Circle Band\u003c\/b\u003e\u003cspan\u003e (expanded upon in later eras by \u003c\/span\u003e\u003cb\u003eSam Rivers\u003c\/b\u003e\u003cspan\u003e' trio and Parker's collective trios with \u003c\/span\u003e\u003cb\u003eCharles Gayle\u003c\/b\u003e\u003cspan\u003e\/Graves and \u003c\/span\u003e\u003cb\u003ePeter Brötzmann\u003c\/b\u003e\u003cspan\u003e\/\u003c\/span\u003e\u003cb\u003eHamid Drake\u003c\/b\u003e\u003cspan\u003e) into their own unique and scintillating realms of expression. As we tumble further into the throes of history's tides, people of hope and creativity rely on the works of our great artists to lift our spirits and focus our resolve. \u003c\/span\u003e\u003ci\u003eAscension\u003c\/i\u003e\u003cspan\u003e was recorded less than a year after the passage of the Civil Rights Act and four months after the assassination of \u003c\/span\u003e\u003cb\u003eMalcolm X\u003c\/b\u003e\u003cspan\u003e. \u003c\/span\u003e\u003ci\u003eJourney in Satchidananda\u003c\/i\u003e\u003cspan\u003e was recorded the month Reagan was re-elected governor of California. \u003c\/span\u003e\u003cb\u003eM'Boom\u003c\/b\u003e\u003cspan\u003e made its debut recording weeks after the Watergate scandal broke and a couple months after the Wounded Knee occupation ended. The music of The Ancients builds on these great musical legacies. It resounds with the pride of survival and the joys of making and sharing music. It delivers to us hope and balm. Something real in you, real in history, and real in the music is shared, right on time. When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as \u003c\/span\u003e\u003cb\u003eFred Anderson\u003c\/b\u003e\u003cspan\u003e, Peter Brötzmann, Charles Gayle, \u003c\/span\u003e\u003cb\u003eKidd Jordan\u003c\/b\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cb\u003eDavid S. Ware\u003c\/b\u003e\u003cspan\u003e were at the height of their powers. \u003c\/span\u003e\u003cb\u003eIsaiah Collier\u003c\/b\u003e\u003cspan\u003e's tenor playing in The Ancients is bracing testimony that the wellspring lives on. To hear the young Chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, and the intensity of his expression -- as well as a bold complement to his composition-based albums as a bandleader (including \u003c\/span\u003e\u003ci\u003eThe Almighty\u003c\/i\u003e\u003cspan\u003e, a New York Times' best albums of 2024 selection). I've admired drummer William Hooker since first encountering his music in a Hartford, CT, city park, early '90s (on a double bill with \u003c\/span\u003e\u003cb\u003eJerry González\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eFort Apache Band\u003c\/b\u003e\u003cspan\u003e). From the man himself right off the bandstand I bought his even-then rare first recording, the 1976 self-released 2LP opus \u003c\/span\u003e\u003ci\u003eIs Eternal Life\u003c\/i\u003e\u003cspan\u003e (reissued 2019 by Superior Viaduct). An imposing force on his instrument and an intrepid DIY cat, Hooker's been exuberantly swinging in-and-out of free time for 50+ years. Informed by the innovations of \u003c\/span\u003e\u003cb\u003eSunny Murray\u003c\/b\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cb\u003eTony Williams\u003c\/b\u003e\u003cspan\u003e yet entirely himself, there is no other term for it than \"pure Hooker.\" At age 78, with the Ancients and everywhere else, THE HOOK is in peak form. With a discography approaching 600 entries and 50+ years working across the musical maps, including in the history-defining bands of \u003c\/span\u003e\u003cb\u003eDon Cherry\u003c\/b\u003e\u003cspan\u003e, Cecil Taylor, \u003c\/span\u003e\u003cb\u003eBill Dixon\u003c\/b\u003e\u003cspan\u003e, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership and a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as \"the tone world,\" multi-instrumentalist, improviser and composer William Parker is a living hero of the grassroots and the Black Mystery Musics, not to mention one of the great bassists in the history of jazz. To quote \u003c\/span\u003e\u003cb\u003eGeorge Clinton\u003c\/b\u003e\u003cspan\u003e, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite. Free jazz is an enduring high art. Its greatest expressions belong to their particular moment in history, and live on to transcend and refract in amaranthine ways. Inside our present historical moment, we are fortunate to have the master musicians in the ancients bringing us their high-level creation. Live to 2-track concert recordings by \u003c\/span\u003e\u003cb\u003eBryce Gonzales\u003c\/b\u003e\u003cspan\u003e, Highland Dynamics. Mastered by \u003c\/span\u003e\u003cb\u003eJoe Lizzi\u003c\/b\u003e\u003cspan\u003e, Queens, NY. Album and concerts co-produced with The Black Editions Group.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Aguirre","offers":[{"title":"Double CD","offer_id":46851655172315,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2295\/2925\/files\/ZORN112CD_CU.jpg?v=1749081404"}],"url":"https:\/\/www.fusetronsound.com\/collections\/bulk-discount-new-arrivals.oembed","provider":"fusetron","version":"1.0","type":"link"}