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Ship to Shore PhonoCo. is proud to present the experimental Japanese ambient classic Prologue For Post-Modern Music for the first time on vinyl since its original release in 1984! Unavailable since its debut 37 years ago, Masashi Kitamura + Phonogenix’s LP can almost be seen as the natural progression from the experimental recordings put out by Brian Eno in the 1970s to the releases The Orb and The Future Sound Of London were famous for in the 90s. Prologue For Post Modern-Music is a mixture of ambient and electronic sounds that is both beautifully classical Japanese and New Age. An album to get lost in.

»江戸 Edo« is a cosmic ambient experimental piece conceived in 1977 by Masashi Komatsubara and developed alongside with Hideki Matsutake (a.k.a. Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time — the Moog IIIc.

After to have been released on our other imprints/labels eilean rec. (2015) and IIKKI (2017), it was obviously evident to host the new masterpiece from Masaya Ozaki, "Mizukara", his fourth release. A beautiful immersion in the variety of his sounds imprints, using some field-recordings, electro-acoustic and textures to give his excellence to the ambient range. Masaya Ozaki is a New York/Iceland-based composer born in Niigata, Japan. His work examines the idea of space as a transient entity, the subtleties behind small moments, the sensitivity of the ephemera, and the future of sound in an exceedingly materialistic world. He often finds inspiration in nature, the fragility of human interactions, and the momentums behind them. Masaya's artwork materializes as field recordings and compositions for ensembles, film, dance, visual, and experimental arts. ‘’This Album is a reflection of my current life in Iceland. Where does the self begin and where does it end ? ‘’

After to have been released on our other imprints/labels eilean rec. (2015) and IIKKI (2017), it was obviously evident to host the new masterpiece from Masaya Ozaki, "Mizukara", his fourth release. A beautiful immersion in the variety of his sounds imprints, using some field-recordings, electro-acoustic and textures to give his excellence to the ambient range. Masaya Ozaki is a New York/Iceland-based composer born in Niigata, Japan. His work examines the idea of space as a transient entity, the subtleties behind small moments, the sensitivity of the ephemera, and the future of sound in an exceedingly materialistic world. He often finds inspiration in nature, the fragility of human interactions, and the momentums behind them. Masaya's artwork materializes as field recordings and compositions for ensembles, film, dance, visual, and experimental arts. ‘’This Album is a reflection of my current life in Iceland. Where does the self begin and where does it end ? ‘’

Japanese vibraphonist and marimba player Masayoshi Fujita returns with Migratory, his masterful new solo album, where his sonic explorations into the unknown continue.

In 2020, after 13 years of living in Berlin, Fujita returned to his native Japan with his wife and their three children, fulfilling his life-long dream of living and composing music in the midst of nature. The family found their new home in the mountain hills along the coast of Kami-cho, Hyōgo, three hours west of Kyoto.

Once settled in, Fujita spent his time turning an old kindergarten into his own music studio, Kebi Bird Studio, which became the birthplace of Migratory. On his new album, the composer and producer masterfully reimagines and mesmerises with his trademark sounds of vibraphone, and resumes his experimentation with the marimba and synthesisers that he first incorporated on his 2021 album, Bird Ambience, which followed the release of his acclaimed vibraphone triptych: Stories (2012), Apologues (2015) and Book of Life (2018).

On Fujita’s ever-evolving list of collaborators, Migratory introduces vocals from Moor Mother on ‘Our Mother’s Lights’ and Hatis Noit on ‘Higurashi’, as well as shō and saxophone to its soundscapes.

Whilst at a music residency in Stockholm in 2021, Fujita met Swedish shō player Mattias Hållsten. Although it was a brief encounter, the two musicians stayed in touch. During a visit to Japan, Hållsten stopped by the studio and played on three of the tracks, including the alluring album closer ‘Yodaka’, exceeding Fujita’s own expectations.

Another collaborator, American poet Moor Mother asked Fujita to contribute vibraphone to her upcoming album, and in return lent her powerful voice to the Migratory’s centrepiece, Our Mother’s Lights — “it carries a kind of African and Asian vibe, a perfect match for the energy of the piece,” he adds.

As with Bird Ambience, Fujita continues to be inspired by our feathered friends. The album’s title, Migratory, originates from an image that came to him of migratory birds, travelling somewhere between Africa, Southeast Asia and Japan, imagining them hearing the music from the land underneath, and how their point of view of the world from above blurs the boundaries of music and land.

Expanding on this, Fujita says: “these ideas and images were inspired by my experiences of living abroad and returning to my homeland, as well as by the artists featured on this album who also somehow travelled or lived in other countries across the boundaries, and being influenced by the music of other lands but at the same time somehow led to their roots."

Masayoshi’s parents too made a life abroad in Thailand for over 15 years. After returning to Japan, Fujita’s mother passed away in the beginning of 2023. So he invited his father to come for a visit, to spend time with him and his grandchildren. A lifelong musician in his own right, the two of them soon found themselves holed up in Kebi Bird Studio. Fujita senior had brought his saxophone, which he played on top of the then unfinished recordings, resulting in three breathtaking pieces. The slow jazz-tinged ‘Blue Rock Thrush’ stands out, with the saxophone and marimba blending harmoniously reaching new artistic heights.

Nature has always been a source of inspiration for Fujita, and on Migratory it takes centre stage. You can hear it on the album’s peaceful and considered field recordings, but most importantly, Masayoshi highlights – “nature is there as the image to be evoked by the listener from the music.” On the record’s sleeve notes, written by renowned novelist and travel writer Pico Iyer, we learn about the Japan that he hears as he sits down and listens to the music. It educates and encapsulates us, in the same way Fujita’s imaginary birds vividly depict the essence of musical migration. 

Masayuki Takayanagi was one of the truly iconoclastic musicians to emerge from Japan, or anywhere else, in the 20th Century. Though he won acclaim in the 1950s and '60s as a master of the electric guitar and jazz improvisation, Takayanagi was a restless spirit, deeply engaged with the era's new movements in contemporary art, music, literature, and philosophy. His work, beginning in the late 1960s placed him on the leading edge of these developments; he began expanding on the most radical elements of American and European free jazz, infusing them with the raw feedback and dissonance of electronic and avant-garde music. With his various New Direction groups, Takayanagi broke free of traditional structures and developed a new theory of music that embraced an aggressive and unrelenting style of playing that has remained almost completely unparalleled in its ferocity. Of all the albums to be released during Takayanagi's lifetime, 1975's Eclipse was perhaps the most enigmatic and sought after. Released in an edition of only 100, it almost immediately disappeared and became a holy grail for Japanese connoisseurs of adventurous music, and rightly so. It's first side contained a two-part realization of Takayanagi's "Gradually Projection" modality -- a searching interplay between instruments -- slowly emerging from a sparse open field and building with the tension of a looming thunder storm. The second side contains an epic performance of a "Mass Projection", a high energy, densely layered barrage of sound that in its 25 minutes, never once slackens its intensity. It would be another 31 years before this key album in Takayangi's oeuvre would finally have a (slightly) wider audience through a CD release by Japan's P.S.F. Records. Black Editions present a deluxe vinyl edition of this masterwork, revealingly remastered from the original tapes by Elysian Masters. The album is packaged in a heavy double tip-on gatefold jacket that pays tribute to the original handmade packaging and features a previously unseen studio photograph of Takayanagi by Tatsuo Minami. Recorded in Tokyo, March 14, 1975. Engineer: Mikio Aoki. Cover, photographs and design by Kazuharu Fujitani. Gatefold photograph by Tatsuo Minami. Insert Notes by Yasunori Saito. Produced by Satoru Obara, Yoshiaki Kamei, Nihon Gendai Jazz Ongaku Kenkyukai. Originally released in an edition of 100 by ISKRA Records, Japan in 1975. Remastered from the original master tapes by Dave Cooley, Elysian Masters, and produced by Peter Kolovos. Deluxe heavy tip-on gatefold LP with matte black paper, second tipped-on metallic gold wrap and insert.

Foam On A Wave is proud to present the first international issue of this chameleonic, shapeshifting record, from one of Hungary's most prolific musician and film composers, János Másik. At times it calls to mind 23 Skidoo, Talking Heads and The Pop Group, at others it sits in its own corner of the room. 1989 was a revolutionary year. For many in the West the fall of the Berlin Wall marked the Autumn of Nations; the End of History and the triumph of progress. In Hungary, the year saw the Round Table Talks establish a new multi-party democracy and the effective end of communist rule after 40 years - Rendszerváltás; 'regime change'. It's hard to ignore these cataclysms while listening to Trance Balance. After all, its initial release was on Hungaropop, 'one of the first privately owned, independent labels launched after the liberalization of the market in Warsaw Pact-era Hungary' (we highly recommend delving further into their remarkable catalogue). Is music always an expression of the shifting political landscape? Or does it exist beyond it? These are all questions that percolate as the needle drops. Freud, a ghost from the Dual-Monarchy, runs in streams through the album sleeve. Trance Balance itself is reminiscent of a trip, transporting the individual through a semi-conscious dreamland. Synthesisers woosh and swirl overhead. The percussion is propulsive. Voices take on the guise of characters, guide-like, beckoning. There are Brechtian interludes where the musical fourth wall is punctured. At points, the listener awakes to playful refrains, bohemian folk song and calypso detours. This is a masterwork of musical surrealism - an act of pure intuition - free and honest. A manifesto in all but words. We'll let you decide how much it has to do with politics.

Masma Dream World, a self-described multi-ethnic, non-binary, multi-disciplinary artist named Devi Mambouka who has roots in Gabon and Singapore, with her second album. Please Come To Me is an intense, beautiful, and haunting album that finds the technical developing with the spiritual, and the electronic with the natural. Masma Dream World reaches deep down to the interior of herself as its most vulnerable, proving that sorrow can be transformative, and music can be transformative.

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Following the breakup of Cambridge's avant-rock legends, Henry Cow, guitarist Fred Frith moved to NYC in 1979, and soon found himself deep in the heart of the city's robust post-punk and free-jazz scenes. He performed with Bill Laswell and Fred Maher, from the group Material, as a power trio of sorts under the moniker of Massacre. The group quickly garnered a reputation around town, and around the world for that matter, as a heavy and heady band that experimented greatly with rhythm, time signatures, and tone. As Frith himself put it, "the group was a direct response to New York. It was a very aggressive group, kind of my reaction to the whole New York rock club scene." Massacre released one album, Killing Time, before disbanding for nearly 20 years. Their first wave as a group crashed fast and furiously and this one album, recorded in part live in Paris, and in part at Brooklyn's OAO Studio, is a perfect encapsulation of early '80s NYC. In addition to the original album, first released on Celluloid in 1981, this deluxe three-sided double LP includes eight bonus tracks recorded live between '80 and '81 at The Stone in San Francisco, and Inroads and CBGB in NYC. Avant-jazz-post-punk-noise of the highest order from several legends and one of the most important projects Frith and Laswell were ever involved in.

Released in 1998 as Massive Attack’s third studio album, this work is regarded as their masterpiece. Unlike the soulful and jazzy atmosphere of their previous albums Blue Lines and Protection, it deepened the trip-hop sound while strongly incorporating influences from post-punk and industrial, resulting in a cold and heavy sonic landscape. Issued by Virgin Records as a 180-gram double LP edition.

Under the production moniker of Material Things, 12th Isle co-founder Stewart Brown unveils a part debut album part compendium of musical collaborations spanning from 2015-2020. Some recordings began as long, one-take improvisations (How's Life, Peckham) spliced together and revisited years later. Others were based upon chance opportunities to record with musicians operating a long way from the parameters of 12th Isle. Cult private-press loner folk guitarist Bob Theil, whose 1982 album So Far counts as one of the Scottish greats of the era, is at the heart of 'Westway'. Synth and guitar fragments recorded by the pair in Stewart's family home one summer form a low-key conclusion to the collection, whilst London based percussionist Pike Ogilvy brings an array of drum sounds and natural percussion to 'No Direction'. Regular 12th Isle affiliate Vague Imaginaires also features heavily, contributing synth work on Grenoble and his own extended digi bonus remix of 'How's Life'. As a collection, the 8 tracks show a studious, concise vision and combine influences from minimalism, concrete and avant-garde jazz and techno yet also embrace friendship, experimentation and curiosity whilst capturing 5 years of the artists own personal life. Some of the tracks have been circulating in various versions for a number of years now, with DJ support from Bake, Ivan Smagghe, Optimo, Lena Willikens, Huntley & Palmers, Orpheu The Wizard and, of course, 12th Isle.

Having assembled 99 collaborators for their previous album The Consuming Flame, on their new album Baltimore-based electronic duo Matmos focus upon just one person: Polish polymath Bogusław Schaeffer. Celebrated in his native land but not widely known beyond, Schaeffer innovated for decades across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. At the suggestion of Michal Mendyk of the Instytutu Adama Mickiewicza in Warsaw, Matmos were given access to the entire catalogue of Schaeffer’s recorded works to use as they saw fit. Neither performances nor remixes, the resulting encounters between past and present take tissue samples of DNA from past compositions and mutate them into entirely new organisms that throb with an alien vitality. What emerges across this suite of eight new songs is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. Like the anagrams of the letters of Bogusław Schaeffer’s name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Úna Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a “life review” of production styles, Regards / Ukłony dla Bogusław Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities. The contrary poles of humor and morbidity for which Matmos are known show up on the album’s distinct sides. Balancing structure and texture, side one of the LP is spiked with plunderphonic surprise edits and unexpectedly pop pleasures, while side two opens out into more extended, sprawling and ominous forms. On the opening track “Resemblage / Parasamblaż” the choral harmonies and analogue electronics of Schaeffer’s work jostle against distinctly contemporary sub-bass drops and spiky high-end fizzes. But just as often historical dividing lines seem to blur, soften or melt, as when “If All Things Were Turned to Smoke / Gdyby wszystko stało się dymem” cuts and refolds fragments of harp and aquatic musique concrète from Schaeffer’s 1970 composition “Heraklitiana” into a faintly swinging polychronic elegy. Throughout, nostalgia is repudiated in favor of creative re-use. To facilitate the transcultural exchange that is the album’s essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by Robert Beatty.

the gold disc of the Matrimandir in the center of Auroville. 4.5 x 4.5 cm

The music on this recording is performed by a kind of fictitious chamber ensemble situated in an imaginary room outlined by textures that alternate between gestural foreground and passive landscape. The three pieces contained within this release are tied together by sharing similar harmonic material and instrumentation and could ideally be perceived as parts of one long performance stretching through the two sides of the record. The textural room in which this musical performance operates is unreliable, unstable, constantly shifting in size and activity from sparse and open to dense and claustrophobic. Inside this non-euclidean performance space a chamber ensemble made up of zithers expanded through analog tape transposition, harmonium and organ, double bass, digital FM, feedback-convolution and Serge modular synthesizer perform a music made from justly tuned intervals arranged in a way that blurs the distinction between traditional minor and major tonal harmony in favor of harmonic progression within an essentially modal framework. In terms of the material used to make these pieces, essentially all non-harmonic sounds are contaminated field-recordings. They have gone through a sort of feedback process between digital and analog, or acoustic, processing where field-recorded material has been edited, processed and re-amplified and recorded again in acoustic spaces that shape the character of the material and imprint acoustic identities on the recordings. The tonal instruments were treated in a process analogous to this - harmonic material built from recordings and digitally generated synthesis was recorded, transcribed, rearranged and overdubbed again with additional electronic or acoustic instruments to form a composite electroacoustic instrumental sound.

Liner notes by Mats Gustafsson: Alone at night. Large church room. Lots of air. Stone. Wood. Glass. Quietness. Stillness. The dead and the alive. Surroundedness. Existentialistic matters spinning. Peaceful state of mind. The dialectic equilibrium of complete stillness and deeper thoughts on contra- resistance on local and global levels. Fighting (y)our stupidities. Contra. I have never ever before gotten myself into such an unusual setting for a recording project. And yet, so simple. So naked. So peaceful. Alone at night. As we all are. I borrowed the keys to the beautiful church of Gustafsberg, from my neighbor Rune. I went there at midnight. Set up my recording gear. Old school DAT machine, tube pre-amps and two AKG 414s in an extreme stereo set-up, close to the horn. The horn of choice. The contrabass sax. The monstrous sax-machine “Tubax” made by the German engineer Benedikt Eppelsheim at the turn of the century. I sat down in the first row of benches. Breathing. Preparing. Contemplating. The saxophone positioned in the very middle of the church, close to the altar. More than 6 hours straight of low-end sax noise and many breaks later: the sun set. At around 7 am… I was done. I was alone the whole night. And yet, not all alone. Some things were going on in that church. In that room. I kid you not. Never audible. But strongly felt. Whatever presence of the old or new gods - old and new dreams - it effected the music and my mind. I let it happen. I let it all flow. Alone at night. There is nothing to explain. -Mats Gustafsson 2003/ 2021

‘Low Fidelity’ was commissioned by Anna Koch / Weld with support from the Swedish Arts Council for the performance Insisting On. Sneak premiere for Issue Project Room, Saint Vitus Bar, Brooklyn, USA in December 2015. First performance at Weld, Stockholm, Sweden in February 2016.

‘Invocation I’ is an excerpt from a live recording at Inter Arts Center, Malmö, Sweden, January 2017 based on Lindström’s ‘giant electronic feedback set-up.’

‘The True Laptop Quartet’ is named after a set of instruments built on electromagnetic feedback principles. Both the instruments and the piece
were commissioned by Bergen Assembly 2016 for Tarek Atoui’s Within project. Track recorded at Sentralbadet, Bergen, Norway, June 2016 with
Mats Lindström overdubbing on all instruments. Official world premiere: September 1st 2016 with Tarek Atoui, Espen Sommer Eide, Mats Lindström and Kaya Molsen as the musicians.

‘Light Vessel 21’ was a collaboration with Anna Koch and presented as an A/V installation on board the historic LV21 vessel. LV21 saw most of her service off the Kent coast on the Varne and East Goodwin stations. The piece was commissioned by Töne Festival, Kent, England. World premiere: June 20th 2014.

‘Sotto il Ponte’ was recorded live, with Alba G. Corall on live video, at Huset Under Bron, Stockholm, Sweden in February 2014.

‘Shadow of the Dutchman’ was an overture to the Wagner opera in a version for three pianos and live electronics. The piece was commissioned
by Folkoperan, Stockholm, Sweden. Its debut performance was in February 2013.

Following 2014's When The World Was One, Halsall and the Gondwana collective continue their spiritual jazz adventure with another immaculate narrative. Now with much more vocal prowess, singer Josephine Oniyama plays a lead role in the story, adding consistency and personality to the Halsall's swooning, cinematic odysseys. Highlights include the Hathaway-style half spoken/half sung "Badder Weather", the frenetic double bass and brushed drum crescendos of "The Land Of", the (lark) ascending strings and oriental scales of "Cushendun" and the smoky, faraway Coltraneisms of the title track. Modern jazz doesn't get any more authentic than this.

Manchester trumpeter, band leader and Gondwana label boss Mathew Hallsall is right at the forefront of today's thriving jazz scene. He has an enviable discography that takes in a wide range of jazz styles and the spiritual eastern leaning sounds of When The World Was One make it one of his best. It's the sort of mellifluous record that swells all round you, lifting your spirits filling you with joy and hope. Helping that be the case are the heavenly harps and shimmering piano chords, koto and bansuri flute payed by his Ensemble, but centre stage is always given to Halsall's own beautiful, heart aching trumpet playing. From bold heights to vulnerable lows, this is as good as jazz gets.

Trumpeter, bandleader and composer Matthew Halsall announces landmark new album An Ever Changing View, an expansive, immaculately conceived project which presents Halsall’s signature blend of jazz, electronica, global and spiritual jazz influences. An Ever Changing View will be released on September 8th on Gondwana Records (the label Halsall founded 15 years ago) ahead of a landmark show at The Royal Albert Hall in London on September 21st and UK and EU tour dates. Halsall who has been hailed as one of the leading figures of the UK jazz renaissance has never seen himself as part of any one sound or scene: he builds his own sonic universe instead. An Ever Changing View finds him at his most experimental yet, once again expanding his sound and production techniques to create his unique brand of deeply meditative music. During the album's creation, he was staying in both a beautiful architect’s house with breath-taking sea views and a striking modernist house, where he composed what he saw “like a landscape painting”. In these new environments, Halsall wanted to capture “the feeling of openness and escapism” and to approach making music again from scratch. “I hit the reset button and wanted to have complete musical freedom,” he says. “It was a real exploration of sound.” An Ever Changing View comes in a package as striking as the music, with handmade fonts designed by Ian Anderson of The Designers Republic and the specially commissioned tapestry by artist Sara Kelly is a stunning and harmonious complement to the record's sound.

Trumpeter, bandleader and composer Matthew Halsall announces landmark new album An Ever Changing View, an expansive, immaculately conceived project which presents Halsall’s signature blend of jazz, electronica, global and spiritual jazz influences. An Ever Changing View will be released on September 8th on Gondwana Records (the label Halsall founded 15 years ago) ahead of a landmark show at The Royal Albert Hall in London on September 21st and UK and EU tour dates. Halsall who has been hailed as one of the leading figures of the UK jazz renaissance has never seen himself as part of any one sound or scene: he builds his own sonic universe instead. An Ever Changing View finds him at his most experimental yet, once again expanding his sound and production techniques to create his unique brand of deeply meditative music. During the album's creation, he was staying in both a beautiful architect’s house with breath-taking sea views and a striking modernist house, where he composed what he saw “like a landscape painting”. In these new environments, Halsall wanted to capture “the feeling of openness and escapism” and to approach making music again from scratch. “I hit the reset button and wanted to have complete musical freedom,” he says. “It was a real exploration of sound.” An Ever Changing View comes in a package as striking as the music, with handmade fonts designed by Ian Anderson of The Designers Republic and the specially commissioned tapestry by artist Sara Kelly is a stunning and harmonious complement to the record's sound.

Originally conceived as a tour only exclusive, Bright Sparkling Light was recorded alongside, 2023's expansive beguiling long-player An Ever Changing View and draws on the same trademark blend of jazz, electronica, global and spiritual jazz influences. The original pressing sold-out on Matthew’s EU and UK tour last October and November and so many people got in touch with us here at Gondwana asking how they could get a copy that we decided to make a further 2000 copies available. The title track is a hypnotic meditation built on one of the lushest loops Halsall has ever created and featuring stellar work from Halsall and flautist Matt Cliffe. Newborough Forest is a brisk, uplifting composition celebrating one of Halsall’s favourite landscapes and the wonderous Tide and the Moon paints a sonic picture of late-night waters and deep mindfulness and features some of Matt Cliffe’s most beautiful tenor playing. Like An Ever Changing View, Bright Sparkling Light comes in a package as striking as the music, with handmade fonts designed by Ian Anderson and a beautifully realised embossed artwork that offers a perfect compliment to the LP. Strictly limited and featuring a download code, Bright Sparkling Light will not be re-pressed.

Matthew Halsall - Changing Earth A sublime meditative EP on limited 12”, CD, DL and streaming Design by Ian Anderson of The Designers Republic Matthew Halsall shares the 'Changing Earth' EP – another exquisite and spiritual four track offering. The title track Changing Earth is a soulful, elevating groover featuring sublime work from the whole band but especially, Matt Cliffe on flute and Maddie Herbert on harp. Positive Activity is one of Halsall’s most charming compositions, built round a hypnotic bassline from Gavin Barras it’s melody is plaintive but also uplifting and hopeful and harpist Herbert again shines brightly here. Yogic Flying is another soulful, uplifting tune as Halsall and percussionist Jack McCarthy take us on a transcendental journey upwards. Finally our journey inwards and upwards takes us to Upper Space, a quintessentially Halsall tune built around glistening harp and a sublime, soulful sanctuary elevated through beautiful work from the whole band but especially saxophonist Matt Cliffe. Changing Earth features Matthew Halsall trumpet and electronics, Matt Cliffe flute & saxophone, Maddie Herbert harp, Liviu Gheorghe piano, Gavin Barras, bass, Alan Taylor drums and Jack McCarthy percussion. Changing Earth is produced by Matthew Halsall and Daniel Halsall, recorded by Matthew Halsall, mixed by Greg Freeman, mastered by Peter Beckmann of Technology Works and vinyl cut by Norman Nitzsche at Calyx.

Remixed and remastered with bonus material and released on vinyl for the first time. Deluxe 2LP edition with artwork re-imagined by Ian Anderson of The Designers Republic.

"If I could watch any jazz band in the UK, any, I would choose Matthew Halsall's band, just love what he's been doing over the last few years... It's always high level, spiritual jazz music" – Gilles Peterson

Matthew Halsall is a Worldwide Award winning and MOBO nominated trumpeter, composer, producer and DJ. Since 2008, Matthew has released seven critically acclaimed studio recordings and has been a key figure in the rise of a new jazz sound in the UK. In addition to his own releases Halsall has collaborated with many DJs and producers, most notably DJ Shadow and Mr. Scruff, and in 2013 Matthew’s music was selected by Bonobo for his Late Night Tales compilation. Halsall is also the founder of Gondwana Records, a genre bending independent record label featuring a wealth defining albums by the likes of Portico Quartet, GoGo Penguin, Hania Rani and Mammal Hands. His own rich music draws on the spiritual-jazz of Alice Coltrane and Phaorah Sanders, contemporary electronica and dance music alongside his travels in Japan, the traditional art and music of which, has left a lasting impression on his compositions.

Sending My Love (2008) and Colour Yes (2009) were his first releases and document Halsall’s first great bands featuring the likes of flautist Chip Wickham, saxophonist Nat Birchall, harpist Rachael Gladwin, bassist Gavin Barras and drummer Gaz Hughes. Joyful, life-enhancing albums, drawing on UK jazz and spiritual jazz influences but with a decidedly modern bounce, they introduced Halsall’s music to the world gathering support from the likes of Gilles Peterson and Jamie Cullum, Mojo, Straight No Chaser and beyond. But Halsall was never completely happy with how the records were presented and as part of Gondwana Records 10th anniversary decided to revisit the recordings, meticulously remixing and remastering them for vinyl and commissioning new artwork from Ian Anderson, one of his favourite designers. These then are the definitive editions of the records. Sending My Love comes complete with the beautiful bonus track This Time, while Colour Yes features the equally striking It’s What We Do and Ai.

“I am very proud of these early recordings. They represent the starting point of my musical journey in Manchester and showcase some of the cities finest musicians such as: Nat Birchall, Chip Wickham, Rachael Gladwin, Adam Fairhall, Gavin Barras and Gaz Hughes. They are also the very first recordings my brother and I decided to release on our record label (Gondwana Records). Listening back they sound full of energy and joy and really reflect how I was feeling at that precise moment. But as much as I loved the music, I was never 100 percent happy with the sound of the mixes and mastering. So I decided to go back to the original tapes to remix and remaster them and present them the way I'd always wanted, and along the way we unearthed a couple extra unreleased tracks, which we decided to include as bonus material. Myself and my brother also decided to bring in Ian Anderson of The Designers Republic to re-imagine the artwork and we are super blown away by the results!" — Matthew Halsall, Oct 2019

Oneness by Matthew Halsall In Wishlist view supported by il-berts thumbnail il-berts Such a beautifully crafted album. Such intense rich weaving of sounds and feelings. It’s one of those albums you are happy to share at the same time want to keep as a personal secret. Amazing stuff by Mr Halsall. I suggest anyone reading this to spend some time in his early stuff too. Song to Charlie is monumental. Favorite track: Oneness. Torsten thumbnail Torsten Earlier recordings by Matthew Halsall creating beautifully floating soundscapes. Just shows that it doesn’t matter whether wonderful music was made today or yesterday. It will always be entrancing. Favorite track: Loving Kindness. Mason Moss thumbnail Mason Moss Totally addicted to this material! A calmness unmatched! 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Stories from India 05:26 / 09:33 Streaming + Download Includes unlimited streaming via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. £8 GBP or more Record/Vinyl + Digital Album package image package image package image package image package image * Repress Shipping Dec 10* Printed in deluxe reverse board sleeve with 3x artwork printed inner sleeves. Includes unlimited streaming of Oneness via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 1 day £25 GBP or more Compact Disc (CD) + Digital Album package image package image package image package image package image Includes unlimited streaming of Oneness via the free Bandcamp app, plus high-quality download in MP3, FLAC and more. ships out within 1 day £10 GBP or more Full Digital Discography 12 releases Get all 12 Matthew Halsall releases available on Bandcamp and save 30%. Includes unlimited streaming via the free Bandcamp app, plus high-quality downloads of Salute to the Sun – Live at Hallé St. Peter's, Joyful Spirits of the Universe, Salute to the Sun, What The World Needs Now Is Love / Tryin' Times (ft Matthew Halsall), Colour Yes (Special Edition), Sending My Love (Special Edition), Oneness, On The Go (Special Edition), and 4 more. £52.47 GBP or more (30% OFF) 1. Life 09:58 2. Oneness 11:26 3. Stan's Harp 07:40 4. Loving Kindness 09:39 5. Distant Land 08:42 6. Stories from India 09:33 info buy track 7. The Traveller 06:49 about A collection of unreleased meditative, spiritual jazz from the Gondwana archives in a 3xLP vinyl set The recordings on Oneness date from Jan, March and September 2008 and were born from a period of experimentation as Halsall first began to explore the music that would provide the inspiration for his spiritual jazz recordings Fletcher Moss Park and When the World Was One. They also offer an intriguing snapshot into the birth of Halsall’s Gondwana Orchestra and feature many musicians who would go on to become a key part of Halsall’s musical journey, such as harpist Rachel Gladwin, bassist Gavin Barras and saxophonist Nat Birchall. The recordings sat in the Gondwana Records vaults for over a decade before Halsall felt it was the right time to share them. Asked about the recordings Halsall says: “I’ve always treasured these recordings and loved how vulnerable, open and free they are, but I just felt they were too subtle and sensitive to release early on in my career, so I held them back until now. I also feel now is the right time to release these before I begin a fresh journey with a new bunch of musicians.” Remarkably, the beautiful compositions heard here were all built around a simple tanpura drone sound. An instrument Halsall heard on Alice Coltrane’s ‘Journey In Satchidananda’ album and then at a later date in a concert featuring Arun Ghosh on clarinet and John Ellis on piano. “I loved the way this instrument created a sort of meditative atmospheric pulse for the musicians to work over and it had this beautiful feeling of togetherness, so after the gig I went out and bought a Raagini Shruti box featuring the tanpura drone and began to practice my trumpet over it and wrote lots of loose themes and melodies”. The sessions that make up Oneness capture Halsall in the process of building a new band, reaching out to various musicians he’d discovered and admired on the Manchester, Liverpool and Leeds music scene. “I really liked this idea of bringing lots of musicians together from different backgrounds and was fascinated with how they would all react to each other and the tanpura drone box seemed to bring everyone together really well, it was kind of like a nice meditative icebreaker exercise for everyone to loosen up, before we got stuck into the more composed tunes I’d created, some of which ended up on the Sending My Love and Colour Yes albums”. The album’s title, Oneness, speaks to both Halsall’s conviction that the planet should be shared equally with all of its inhabitants. That no human being or other inhabitant deserves to exist more than the other and that we can achieve far more together than against each other. And also importantly to what Halsall was aiming for musically: “I really believe in Oneness and I’ve always loved the term ‘greater than the sum of its parts’. I could make music on my own and live a fairly isolated antisocial life, but there’s something far more rewarding about creating things with others. And for me these sessions document the coming together of lots of different musicians in a wonderfully organic soulful way to make egoless music”. It’s a belief that continues to underpin Matthew’s music making and a message that the world sorely needs right now as we feel more divided and separated than ever. This then is Oneness, a decade in the making and well worth the wait. Enjoy! All prices shown are “NET of VAT” (Value Added Tax). VAT will be calculated and added at the checkout. You will be charged the appropriate rate which will vary depending on the country.