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Originally released in 2016 as a tour-only cassette, 'Origo' is the first recorded evidence of Timo Van Luijk (Elodie) and Bart De Paepe's Ilta Hämärä project, a heady, hallucinogenic psych-drone jammer that's been bumped up with an extra cut from the same era. Ilta Hämärä is the outlet for Van Luijk and De Paepe's smokiest, dankest material - sessions that thrum at their own pace, tickling the pineal in the process. If you can remember Brooklyn's Religious Knives, or Kiwi skronkers Pumice, you'll have a good idea of where Ilta Hämärä are headed. The opening side's 'Ilma' pits organs against blunted drums and swirling pads, before we lurch into the atmospheric 'Vesi', a soupy zoner that's carried by lysergic axe tweaks and gurgling synths. On the second side, the mood continues with the grim, green-hued 'Vesi', but it's the previously unheard 'Eetreni' that has us most captivated. While it was recorded around the same time, it's markedly different gear, a long-form, mostly beatless Alice in Wonderland thriller that sounds as if it was pruned from a long-lost Czech or Hungarian new wave movie. Flutes and dulled oscillations wind around each other in the first stretch, but when the drums begin to surface they attack like a death rattle from another reality, spplintering out into serrated, saw wave noise and ritualistic crashes...

Time bends for Imaginary Softwoods, the solo guise of producer, songwriter, and synthesist John Elliott. Though he’s working on new recordings daily, Elliott’s process for the construction of his albums moves at a much different interval, stretching out over months of considerate listening, revision, and waiting patiently for the right combinations and clashes of elemental forces to materialise on their own. The Notional Pastures of Imaginary Softwoods continues Elliott’s practice of zeroing in on what he wants to say with an album over the course of countless sessions that span multiple years, this time paying even more attention to locating the emotional through-line that connects the various pieces. The eleven-piece album vibrates at a low, unbroken cycle through all of its articulations. The bubbling neon dots of “North of Roswell,” double vision stumble of “Mr. Big Volume,” underwater music box trickle of “Portable Void,” and clear headed Arctic daybreak drones of “Diagram of the Universe” are all linked by a gentle, fluid hum. The brief moments of anxiety and long stretches of calm both feed back into the same center of gravity, becoming conjoined reflections of one another as they cycle through. After bending to find this specific universal frequency, time evaporates altogether, and longer zones like the glimmering “Almond Branch” become indistinguishable from Elliott’s signature miniatures, some of which stick around for less than a minute. The Notional Pastures of Imaginary Softwoods is a document of the universe as we comprehend it, designed to vanish as soon as it is felt.

Follow-up to 2010’s acclaimed EP Addis-Abeba, Mercato is the debut album by Swiss band Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age. Raphaël Anker, trumpet player from Geneva, one day decides to gather musicians for a live performance revisiting the golden age of Ethiopian music. It's 2007, and the experience is so memorable that the one shot happening becomes a band: Imperial Tiger Orchestra. Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra tests the grounds with an EP and a 7" breaking the boundaries of genres followed by a trip to Addis-Abeba where they perform with local luminaries and learn about the large diversity of Ethiopian music. A life-changing experience which brings them back to the studio for their debut album: Mercato. Overseen with flair by Ethiopian music expert Jeoren Visse, Mercato is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through the eclectic influences of the Orchestra. It's a fascinating retro-futuristic piece of music, close yet totally different from the songs that inspired the band. It's progressive Ethiopian rock! Whether saluting Mahmoud Ahmed on "Lale Lale", re-interpretating the classic wedding theme "Shinet", or taking Martha Ashagani's "Zoma" to new heights, the Orchestra always does it with its unique vision while honoring the Ethiopian originals. Thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas, Mercato explores multiples paths and never loses its warm groove. A winter Mercato sure to bring fire to stages this summer!

Not to be confused with the In Camera who had a couple of post-PiL releases on 4AD in the 80s, this In Camera is the work of Christoph Heemann and Timo Van Luijk. Four years after they got Lost in Spice they reached the point of Arrival. An altar on the surface of the water is burning with flames. Behind it you can see a half of the Earth’s globe, and on it there’s a bright throne. A pale, translucent ruler wearing a crown sits in the throne. The globe is surrounded by a ball of shadows on which sits a larger dark ruler on a dark throne. Behind the globe are mountain peaks, and all of it is reflected in the water. Above the mountains are clouds which merge into rivers and end in a curved horizon on which forests stand, and the sun rises between them. Above this horizon is another sky with lunar crescents and comets. Above this sky are rows of angels bent over, above which the stars shine. The sun shines in the top left corner and the crescent moon in the right.

Dave Huismans (ex_libris, A Made Up Sound) presents In Transit, a self-titled LP of arresting downtempo vignettes, with origins dating back to over a decade ago.

Renowned for some of this century’s most notorious rhythmic advances, the work of Dave Huismans (fka A Made Up Sound and 2562) continues to provide a blueprint for new generations of innovation-obsessives. After a long hiatus from releasing original material, he returned in 2025 with two beloved EP’s as ex_libris. Now he returns to FELT as In Transit, following up on his remix of Civilistjävel! from 2023.

Borrowing its name from the closing dialogue of a novel by Dutch author Hella S. Haasse, In Transit was written in just two weeks in the summer of 2013 on a Korg ESX sampler. Since then, he has patiently refined its constituent parts.

Over the course of 38 minutes across six tracks, In Transit maps out an absorbing vista. The music shimmers with a celestial quality, underpinned by rhythmic stamina and creeping intensity. Tangential to Huismans’ previous work, the beats here are decentred and further scattered, acting as buoys to the constantly evolving and intricate narratives of layered textures.

In Transit marks a fascinating new addition to Huismans’ sprawling catalogue, a truly remarkable racket to be crafted with such humble means, finding a suitable context within FELT’s continued venture into parallel sounds.

Infant crafts eight immersive dub pieces built from echo-laden rhythms, shimmering ambient textures and spacious production. Drawing on Detroit techno and sound system culture, the album unfolds with patience and depth, favouring mood over momentum, with blissed soundscapes that ripple and refreact like liquid metal. Recommended for fans of the ambient side of echospace [detroit] axis.

Bruno De Angelis and Giovanna Gulinello unwittingly met in London in the late 70’s, after being introduced by a mutual friend. Both Bruno and Giovanna arrived with varying ambitions. Giovanna wanted to learn English or be a painter, while Bruno found work at the Royal Post Office, which he found testing. It wasn’t until Bruno rescued Giovanna from an awkward date that the pair became a couple. At the time, music was just something they did for fun. Bruno already had an acoustic guitar and G bought a bass. Those were the days when you could start a new band, whether you could play or not, and new independent labels were springing up. Rough Trade Records was literally around the corner. In 1981 the pair moved back to Italy and found an apartment in Rome. It’s here that they began to focus on their music and where they started ‘recording’ their tracks. First, they would record the rhythm, maybe add the Gigster (the name of their “cheap drum machine”), the bass, and then, as they made a copy of the first cassette onto a second cassette they would add guitar, more synth, or both at the same time. After that, it was not unusual to copy from the second cassette back into the first cassette adding even more “stuff”. As with many artists during the early 80’s, the Influenza Prods’ sound was the direct result of the accessibility of emerging electronic instruments and the recording equipment available to them. The duo was resourceful and inventive, acquiring new equipment as resources allowed. They recorded dialogue from British Soap Operas on their TV set, which were later added to their tracks, while further making use of their family’s cutlery sets, which were used to fill in certain percussion sections The duo’s homespun recordings found a web of admirers in the unofficial distribution of tape trading and mail-art scenes. Despite the DIY ethos and the fact that most tapes were handmade, the Influenza Prods managed to ‘release’ three tapes which comprised of the Greatest Tits (1983), Cheek-A-Bomba (1984) and Quasi Solo (1985). Bruno and Giovanna were sadly subjected to serious family problems, including the loss of loved ones in their lives and eventually parted ways, concluding the Influenza Prods. However, to this day they remain close friends who keep in touch regularly.

"First and last Inga Copeland album" The 2013 album, pressed on a limited edition LP. Premium material from the artist now recording as LOLINA.

A cranky, poetic-esoteric nEuro vibe puts wind behind the sails of Inkasso & ML’s maiden Stroom entry and their transition from whispered nocturnes to slompy cyber-slugs. Flickering shadowy integers of post-industrial, trip hop, theatrical music and sound poetry, ‘Fashion Recession’ finds the trio of Inkasso & ML indulging their whims toward a sort of soundtrack-like fantasy that leads on from their respective works for the artful types at Kashual Plastik and Osàre! Editions. The combo of dank synths with blunted vox and squashed grooves tessellates ideally with Stroom’s roster of angular audities primed for late night listening. Historic shades of everything from Tuxedomoon to Geins’t Naït and contemporary analogs Thomas Bush or Sholto Dobie come to mind in the album’s sideways drift from smudged downbeats on ‘Soft Layers’ to blown-out bass thunder in ‘Rhythm is a medium of change’, the soured music box melody of ‘Ghosting’, and striking moments of ‘90s noir in ‘Algorithm Poetry’ that sees it off into the Novo Line-like thrum and acidic croak of ‘Disturbing Circles’. Reckon this would all sound ideal on a solo midweek holiday to Antwerp after a break-up, when trying to write that novel you always intended to do.

For our 17th expedition, we once again put our trust in expert bass navigators, Inner Echo. After an exceptional outing on PSI011, the Bristolian duo have been further honing their craft via an LP on Moonshine, and the launch of their own imprint, EchoPlex Recordings. They return to the Challenger Deep with a brace of dub-drenched, bass heavy excursions. Limited press, no digital.

In the midst of a series of great domestic new age/ambient reissues this year, including works by Mkwaju Ensemble, Motohiko Hamase, and Joe Hisaishi, here comes the long awaited pure ambient masterpiece! The monumental 1983 debut album by Inoyama Land, a synthesizer unit formed by Makoto Inoue and Yasushi Yamashita, former members of the still active techno-pop and avant-garde group Hikashu, has been digitally mixed down from the original multi-track tapes. The original 1983 album was digitally mixed down from the original multitrack tapes and reissued for the first time in 35 years.

The original 1983 album was released on MEDIUM, a subsidiary of the YEN label hosted by Haruomi Hosono. The original version of the album was released in 1983 on MEDIUM, a YEN label owned by Haruomi Hosono. The original version was known to be one of the most sought after by enthusiasts around the world, and both the LP and CD versions were extremely expensive. The origin of the album title comes from a childhood memory of Yamashita's friend playing with the song "Dan jin dan posidon! The title of the album was taken from the scene where Yamashita's friends used to play while saying "Dan jin dan posidon! The album was recorded using the "Water Delay System," a method devised by Hosono in which microphones and speakers are installed in a tank of water to create a unique, crystal-clear sound. From the ambient sounds colored by meditative synth layers, to the lovely home recordings, to the premature electronica feel, to the occasional avant-wave appearance, this is a masterpiece of originality and a playful piece of work. This is the pinnacle of unique music that lies somewhere between new wave and ambient. This is a masterpiece that is highly recommended for all environmental music and new age fans, including Hiroshi Yoshimura, Midori Takada, Yumiko Morioka and others!

In the 1980s, there was a unique music in between new wave and ambient. In the 1980's, there was a unique music between new wave and ambient, and Japanese music released in that period is now being heard around the world. Inoyamaland is one of the rarest of them all, and has not been forgotten. I was still involved in the release of the album 35 years ago, but the submission of the lost homework was a fresh surprise. The strange comfort of the region called Inoyamaland, like listening to a weather report, has not changed.
Harumi Hosono, July 11, 2018

Originally recorded in the early 1990s, inrain's 'Rise' sweeps up the only material from A.R. Kane's Rudy Tambala and Cranes vocalist Alison Shaw, a long-lost bridge between shoegaze, dub, electro and trip-hop. Essential listening if yr into Seefeel, Locust or Zurich. Back in 1991, inrain appeared on Rough Trade's Singles Club series with a brief but brilliant 7" that sounded as if it'd been beamed in from another planet. A.R. Kane had been forward thinking, sure, but these three tracks - 'Grow', '...And Julie Rose' and 'Sleep' - juxtaposed Shaw's dreamy vocals with dubby, spacious electronics and shimmering guitars in a way that wouldn't really rise to prominence until years later. Music From Memory does the heavy lifting here, remastering that original 7" from the original DAT tapes and adding the extra track 'Biology' and an alternate version of 'Sleep' to bump up the package. But it's those original tracks that have us by the throat - we really can't believe they've been so slept on over the years. '...And Julie Rose' sounds like it should have been picked up for a Duophonic release a decade later, while 'Sleep' completely pre-empts Seefeel's 'More Like Space EP' that wouldn't appear for another couple of years. Prophetic stuff.

Downtempo, Psychedelic, Techno … Using the Turkish psychedelic project Insanlar as a jump off point, Honest Jon’s have enlisted Ricardo Villalobos to turn out one of his grandiose remix projects that gels so naturally with more exotic sound sources.

„Öd“ marks the long-awaited return of Institut für Feinmotorik - the Black Forest collective known for using eight prepared turntables to investigate acoustic micro-phenomena generated by everyday objects - with a new album and their first full-length release on Faitiche. It is also the return of their almost comical understatement as personal artistic principle: „making almost nothing out of almost nothing,“ compressed into the dots on an umlaut. The Öd-nis, the wasteland, is a field that the collective has been ploughing in sound since their first release in 1997. Eight prepared turntables, four mixers, no records, six hands (give or take) merge into what they call the „Octogrammoticum“. A rotating organism of surfaces in friction, fed with the clutter from a drawer: rubber bands or tin foil, CDs, a discarded socket board. Under IFF's scrutinizing stylus, mundane almost-nothings get scratched open to reveal the acoustic density of negative space itself. Last year’s „Adhesive Tape“ drew IFF closer together after an almost ten-year hiatus. An eponymous event series at Berlin's silent green set in motion what would become their most twistedly funky release since „Penetrans“ on Staubgold in 2002. The only thing öd about „Öd" (meaning „barren" or „boring“ in German) may well be its title: layers of improvised play and randomized loops convolve around porous, dubby groove locks, tugging at each other in a call-and-response with howling static that cuts through bulbous ambient techno into a scrap-metal Dixieland phantasm. Stratified yet spacious, these sonic double exposures always hover on the verge of collapsing. What you think you hear might not be what you actually hear. The album’s track titles resemble Conceptual Poetry, extending this psycho-phenomenological gesture into the realm of spoken language. Conceived by renowned poet Dagmara Kraus, they become word molecules - „stern,” „dies,” „lose“ - tilting delicately between German and English, constantly changing depending on the ear’s perspective and pointing back to the deeply unstable fabric connecting meaning and sound. Which also makes „Öd“ an unusual cross-disciplinary collaboration - at least in the field of electronic music. PS: Since its beginnings in Bad Säckingen, IFF has always been more than the sum of its rotating parts, moving tirelessly between multimedia art, theory, solo projects and collaborations. With IFF Expanded, the collective now opens its eight-doored apparatus, inviting artists working with CDJs or samplers to join - an ambitious live format that loosens its former purity law while carrying forward a long-standing curatorial practice. The same thread also runs into the related event series Acephalic Headspace. (Text: Sonja Matuszczyk)

At the end of 1970, having worked on his free jazz “made in France” and, with his Intercommunal Free Dance Music Orchestra, sung the blues with all the regional accents of the country, François Tusques made his contribution to the traditional music of a region he knows well: Brittany. With the electric bass of Tanguy Le Doré and the bombards and bagpipes of Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat, the Intercommunal becomes a kind of Brotherhood Of Breizh. But if the swell and the sway remind us of Chris McGregor, the repetitions and dissonances soon rock the boat. Bracing, the wind in Brittany!

If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…

In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a music which sythesizes the different communities living and working in France.” In 1976, on the first album (L’Inter Communal) we can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows “by heart”?

Having lived for a long time in Nantes, he would expand his ‘brittanitude’ on the canal linking the aforementioned city to Brest by playing with, for example the Diaouled-Ar-Menez. With these “devils from the mountain” who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle!

With percussion from Samuel Ateba and Kilikus, the association launches the ‘bombardier’: the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor’s Brotherhood Of Breath (“La rencontre”) when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff (“Les racines de la montagne” or “Le cheval” sung by Andreu). Only one thing to say to this Brotherhood Of Breizh: Mersi!

At the end of 1970, having worked on his free jazz “made in France” and, with his Intercommunal Free Dance Music Orchestra, sung the blues with all the regional accents of the country, François Tusques made his contribution to the traditional music of a region he knows well: Brittany. With the electric bass of Tanguy Le Doré and the bombards and bagpipes of Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat, the Intercommunal becomes a kind of Brotherhood Of Breizh. But if the swell and the sway remind us of Chris McGregor, the repetitions and dissonances soon rock the boat. Bracing, the wind in Brittany!

If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…

In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a music which sythesizes the different communities living and working in France.” In 1976, on the first album (L’Inter Communal) we can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows “by heart”?

Having lived for a long time in Nantes, he would expand his ‘brittanitude’ on the canal linking the aforementioned city to Brest by playing with, for example the Diaouled-Ar-Menez. With these “devils from the mountain” who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle!

With percussion from Samuel Ateba and Kilikus, the association launches the ‘bombardier’: the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor’s Brotherhood Of Breath (“La rencontre”) when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff (“Les racines de la montagne” or “Le cheval” sung by Andreu). Only one thing to say to this Brotherhood Of Breizh: Mersi!

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music. On this first volume, the Intercommunal takes its audience from New Orleans to Brittany and on to North Africa. The journey was bold, without a doubt—and its memory remains unforgettable. “The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers belonging to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world! Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. “We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. “We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

Concert at Prades-le-Lez marks the origins of the Intercommunal Free Dance Music Orchestra. In 1974, François Tusques and his companions (Michel Marre, Jo Maka, Adolf Winkler and Guem), in the spirit of Don Cherry or Chris McGregor, playfully dismantle all borders and all styles of creative music. On this second volume, the Intercommunal builds unprecedented soundscapes around a song of revolt, a dance tune, or a burst of dissonance. The journey is unforgettable, no question about it. On repeat listening, it even becomes… lunar! “The music that we make is primarily meant to be listened to live,” warned a leaflet from the Intercommunal Free Dance Music Orchestra. This is precisely why the (restored!) reissue of the two volumes of Concert at Prades-le-Lez, recorded on January 25 and 26, 1974 by François Tusques and his comrades, is such an important event. In 1971, after recording a series of albums that would leave a lasting mark on French jazz (Free Jazz, of course, with Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais, but also Le Nouveau Jazz with Barney Wilen, or the solo Piano Dazibao), François Tusques founded the Intercommunal—a grouping whose very name called for the fraternization of the various communities making up the country: Our music will help, we hope, to resolve the contradictions that exist between workers belonging to different communities, by breaking down various forms of national chauvinism, and more particularly the chauvinism of certain French people toward the cultures of Third World countries… Long live the friendship between the peoples of the whole world! Among the great records made by the Intercommunal Free Dance Music Orchestra, the two volumes of Concert at Prades-le-Lez come first, before L’Inter Communal, Vol. 4, Le Musichien, and Après la marée noire (four titles already reissued by Souffle Continu). François Tusques and his companions (Michel Marre and Jo Maka on saxophones, Adolf Winkler on trombone, and Guem on percussion) performed on January 25 and 26, 1974 at the Moulin de Prades-le-Lez, a few kilometers from Montpellier. It was thus in the southern region of Occitanie that the first echoes of this musical vision of a borderless brotherhood were recorded. “We’re not among the Colonels,” the Intercommunal reassures us right away, performing a stride piano tune carried by African winds that the audience cannot resist for long. The energy is already striking and it never lets up throughout these two recordings, from start to finish: jazz, blues, traditional music, minimalism, even funk… The musicians of the Intercommunal have heard a lot of great music and now delight in reinventing it by mixing it all together. “We want the song form to take its place as a weapon in the struggle against capitalist exploitation and all those who oppress us morally and materially,” declared an Intercommunal leaflet, quoting Jean-Baptiste Clément, author of the lyrics to “Le Temps des cerises.” The struggle was therefore serious—but it did not prevent François Tusques and his group from waging it in a festive spirit: each piece on Concert at Prades-le-Lez sends out a call for love and fraternity. Fifty years later, the message remains as relevant as ever—and once again, it is François Tusques who makes it heard.

A reissue set featuring the early signature works of the Intercommunal Free Dance Music Orchestra, led by François Tusques—a pivotal figure in French free jazz! This release compiles their legendary live album "Vol.1", recorded at a watermill in Prades-Le-Lez in the South of France in 1971, along with its follow-up second album, "Vol.2", together on CD for the very first time.

The Intercommunal Free Dance Music Orchestra was created in 1971 by an “old hand” of French free jazz, François Tusques. Free Jazz, was also the name of the recording made by the pianist and other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais) in 1965. But, six years later Tusques had had his fill of free jazz. After having wondered, together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), if free jazz wasn’t a bit of a dead end, Tusques formed the Inter Communal, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt} As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the then famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu an “afro-Catalan tale”. Over a slow bass line (exceptional work from Jean-Jacques Avenel) backed by percussion from Kilikus, saxophones (Sylvain Kassap and Yebga Likoba) and trombone (Ramadolf) which presented a myriad of constellations. The sky has no limits, let’s make the most of it. The following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on… bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

WRWTFWW Records furthers its collaboration with Japanese electronic/ambient group Interior by releasing their never-heard-before soundtrack for environmental artist NILS-UDO's 1987 Laserdisc Sculpture of Time (Apocalypse). The intriguing sound design/kankyō ongaku/new age album is available as a limited-edition LP housed in a heavyweight 350gsm sleeve and comes with a obi strip. In 1987, Intermission published a Japan-only Laserdisc showcasing one hour of works created by renowned German environmental artist NILS-UDO. To accompany the visuals, they commissioned electronic music group Interior, fresh off their Haroumi Hosono-produced self-titled debut (also available on WRWTFWW Records) and their Windham Hill Records-released sophomore album Design. For the first time ever, the soundtrack is now available in full HD glory, demonstrating Daisuke Hinata, Eiki Nonaka, Mitsuru Sawamura, and Tsukasa Betto's precise, subtle, and spellbinding approach to ambient sound design. Calming nature sounds, ritualistic synths, meditative atmospheres, and eruptive forays into darker territories mesh superbly in a four-part soundscape that flirts with oeuvres such Midori Takada's Through The Looking Glass and Hiroshi Yoshimura's Green, making Sculpture of Time one of one of the best kept secrets of kankyō ongaku -- a must have for mystery hunters and levitating music lovers.

Interior” was formed by Daisuke Hinata and Hideki Nonaka, who were alumni of the Berkeley College of Music. Their first album “Interior” was released in 1982 on Haruomi Hosono's label, Yen Records. Their musical style of instrumental synth-pop with an emotional flavor based on “ambient music” and “environmental music” style is one of the most popular styles in the new age music scene in the U.S. Windham Hill Records, one of the leading new age music labels in the U.S., has also taken notice.

Artificial Dance founder Interstellar Funk releases Live At The Rest Is Noise - Muziekgebouw aan 't IJ. Limited to 150 cassettes, the recording documents Interstellar Funk’s performance at Amsterdam’s Muziekgebouw concert hall in October 2021. The 45-minute set ebbs and pulses, leaving behind Interstellar Funk’s penchant for hard-wearing club sounds in favour of melody and texture. Some passages mirror elements from the studio album Into The Echo (Dekmantel, 2022), but the live setting allows Interstellar Funk to expand and explore richly detailed sonic spaces that highlight his skills as a composer-performer. Download card included.

Much needed reissue of Stephen Hitchell’s sleepwalking dub house trips, faithfully remastered by Pole for posterity and optimal immersion. FFO Maurizio, GAS, Shinichi Atobe. Echospace’s Stephen Hitchell is in his element as Intrusion on two durational treks deep into the studio haze. Also found in much longer versions on original release, back in 2015, ‘A Gentle Embrace’ appears here thru13 min timeframes ideal for long blends in-the-mix, or more simply enjoyed on their own, floating and soporific terms. The original puffs up a sublime architecture of diffused fumes and rolling, velvet-coated bass that yearns upward, outwards with a gorgeous sense of deferred gratification that he tempers to an even more light-headed feel in the B-side reduction, whisking the choral pads and chords to cirrus wisps and beatific harmony.