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Delroy's in love. With House. Absolutely essential again.

Reissue on vinyl for this classic album originally released in 1978 on Carib Gems. Arranged and produced by Bunny Lee. Delroy Wilson was one of Jamaica's most soulful vocalists, and over a 40-year career the singer unleashed a flood of hits and a multitude of masterpieces. Born in the Kingston neighborhood of Trenchtown, Wilson's phenomenal talent would be his ticket out of the ghetto, and his discovery by producer Coxsone Dodd in 1962 would change the path of Jamaican music.

Hard to find early 80s roots vocal album from Delton Screechie, voiced over tuff militant roots rhythms at Harry J's then voiced and mixed at King Tubby's studio.

Colemine is proud to present the first new music from the Delvon Lamarr Organ Trio in over four years. These tunes were taken from the I Told You So sessions and from a forthcoming full length LP. The super funky “Chicken Leg” on the A-side and the slow burn “If I Could” on the flip. The personnel on this features Lamarr on Organ, the incomparable Jimmy James (Parlor Greens, True Loves) on guitar, and the deep pocket of Grant Schroff (Polyrhythmics, Champagne Bubblebath) on drums. I Told You So was one of DLO3's best selling and performing albums, so the forthcoming LP is surely one not to be missed!

Delvon Lamarr Organ Trio—or as it is sometimes referred to, DLO3—specialize in the lost art of “feel good music.” The ingredients of this intoxicating cocktail include a big helping of the 1960s organ jazz stylings of Jimmy Smith and Baby Face Willette; a pinch of the snappy soul strut of Booker T. The M.G.’s and The Meters; and sprinkles Motown, Stax Records, blues, and cosmic Jimi Hendrix-style guitar. It’s a soul-jazz concoction that goes straight to your heart and head makes your body break out in a sweat. The band features organist Delvon Lamarr, a self-taught virtuosic musician, with perfect pitch who taught himself jazz and has effortlessly been able to play a multitude of instruments. On guitar is the dynamo Jimmy James who eases through Steve Cropper-style chanking guitar, volcanic acid-rock freak-out lead playing, and slinky Grant Green style jazz. From Reno, Nevada is drummer Dan Weiss (also of the powerhouse soul and funk collective The Sextones). Dan’s smoldering pocket-groove drumming locks in the trio’s explosive chemistry. Founded by Lamarr’s wife and manager Amy Novo, the trio started from humble beginnings in 2015, but since then has released two Billboard charting albums and toured the world to sold out venues. The trio returns now with their second studio album, I Told You So, with even heavier grooves and more confidence. It may have been several years since their most recent studio effort, but they haven’t missed a beat.

Live at KEXP! is a studio‑live recording captured during Delvon Lamarr Organ Trio’s appearance on Seattle’s KEXP, offering the most direct and unfiltered experience of the band’s signature sound.

Live at KEXP! is a studio‑live recording captured during Delvon Lamarr Organ Trio’s appearance on Seattle’s KEXP, offering the most direct and unfiltered experience of the band’s signature sound.

On their most explicit venture into music for moving image, Miles Whittaker & Sean Canty rudely fracture piano and vocal recordings by US filmmaker-musician Kristen Pilon in a short-circuiting of style and pattern that arguably amounts to some of their best yet on DDS. Yup it’s uncanny dream-within-a-dream type gear, landing somewhere between their commissions for Gruppo Di Improvvisazione Nuova Consonanza and creeping classics by The Caretaker.

Shredding up definitions of electro-acoustic opera, spectralist chamber musique and concrète rave, Demdike hit square between the eyes/ears of film music vernaculars on a startlingly strong addition to their unique oeuvre, now in its 16th year of elusive psychoacoustic strafes and jump-cuts across putative borders. The 13-part, hour-long album dislodges source material made for the experimental film ‘To Cut and Shoot’, by Kristen Pilon, an NYC-based musician and filmmaker, to farther refract the film’s themes of serendipity and the nature of ghosts and dreams with a flickering flux of sound-imagery and aleatoric weirdness appropriate to her original meditations, but also freely messing with their forms. 

Situated just a few miles north of Houston, Cut and Shoot is a relatively insignificant Texas town with an unforgettably bizarre name. Pilon grew up not far from Cut and Shoot, and it's there where she ran into 65-year-old machinist and motorcyclist Robert Lewis Stevenson, better known as Bobbo, who's pictured on the album's cover. The meeting occurred a few months after Pilon recorded her improvisations on piano, strings and voice in the basement cellar of the Halle in Manchester, with Bobbo providing the necessary narrative heft the trio needed to inspire an experimental film and its accompanying soundtrack. 

Responding to Kristen’s initial piano and operatic vocal recordings, Demdike return a volley of discrete parts tilting from typically cantankerous mayhem to quieter, more clandestine buzzes sliced with crazed interstices of the imagination, all marbled with the plasmic contrails of the paranormal which have long been peculiar to their work. With a poetic flair reflecting Pilon’s own phrasing and melding of mediums, Demdike unfold and expand her melodic fragments into temporal mazes, variously resembling the most messed-up ends of The Caretaker in ‘A Grave Fall (January)’, but also liable to skew into buckshot club turbulence, as with ‘Belly Up’, or the bittersweet bruk contortions of ‘Twist’. 

The storyline wickedly frays and loops into itself with a non-linearity that recalls the mid-to-latter stages of Lynch’s ‘Mulholland Drive’ or waking from a sweaty fever dream only to pitch back into its thorny bush of ghosts, often within the space of one track. It’s testament to the ever-tighter binds of Demdike’s symbiotic vision that the results nevertheless hold a thread of logic that weaves in everything from their Jon Collin jams to reams of mixes and Gruppo edits with an unresolved, open-ended quality that still keeps us on our toes, perhaps more so than ever here.

Demdike Stare return to Modern Love with their first release on the label since 2018, a sick addition to the label’s 7” series. One side of charred bruk-pop rufige featuring Alice Merida Richards on vocals, with a murderous pipe-bomb riddim on the flip. Both cuts find Demdike in wickedly rambunctious mood, the a-side ‘Junk’ weaving gated filters and squashed subs into the gynoid vocal delivery of Alice Merida Richards, formerly of baroque pop band Virginia Wing, and here giving it a full Nico via Trish Keenan thing. Imagine the Chain Reaction label doing monochrome, mutant pop, and you’re just about there. ’Tuff Crew’ on the flip sees the duo panel-beating sheet noise, gnashing drums and hyperpop hiccups into a seething industrial dancehall swivel made to swarm warehouses with its dizzying stereo diffusions. Hands down some of their best gear, play extra loud for the full madness.

Demdike Stare zoom into the late 90’s sweetspot where jungle producers swang into UKG and R&B with a high grade mixtape spliced together with typical, obsessive knowledge and swerve - trust it’s one of their best. Mining one of their essential touchstones, ‘The Call’ highlights the ’97-’99 period in the UK when the likes of Steve Gurley, Anthill Mob and Sky Joose were key players in the phase shift from ruff to sweet club styles around needlepoint 2-step drum programming. Also spotlighting the irrevocable influence of US R&B at the time, the mix homes in on one of the hardcore ‘nuum’s most fascinating innovations, when original, leading producers reclaimed their music from the sweatier excesses of jungle/D&B, and ushered it back to sexier, slinkier styles primed for dressing up and showing off - not gurning your tits off and brukking the f uck out. Stitched together with subtle, patented sleight-of-hand edits and dial strafe smudges, the mix exerts exquisite control for one hour of dainty rudeboy shuffle and woodblock parry in honour of their innovative heroes. Without overstating it, they trace UKG’s flex from bumpty speed garage soul inflicted with syrupy R&B, to its four-to-da-floor variants, and the sparkier punctuation of 2-step, proper, emphasising the sound’s rhythmic and textural sensuality with triple deep and eternal cuts that find the sound crystallizing from a delicious flux of puckered US garage-house and R&B-soul aspects, and updating the memory banks of original UK rave. Like the post-factum UKG archaeology of Finn and Oneman, Demdike’s picks are educated and educational, but never academic - presenting an ideal primer on the way styles shifted quickly back then, exemplifying how the tussle of energies between the house traction of Grant Nelson, Dem 2’s dissection of Timbaland/The Neptunes’ mainstream R&B, and the restless bad foot of rave were factored by the adroit chops of early jungle DJs on radio stations such as Freak FM and Jason Kaye’s Sun City mixes.

The DDS 12” series follows that blink-n-miss Shinichi Atobe opener with this full curveball from Demdike Stare, finding the UK x US brukbeat axis twisting wildstyle thru the deadly first shots of a Demdike x Dolo Percussion hookup that’s been years in the making, set to dominate dancefloors for the foreseeable. Since 2019 Demdike Stare had been playing edits of Dolo Percussion’s bare-boned breaks in their DJ sets, eventually sharing them with Dolo’s Andrew Field-Pickering (Beautiful Swimmers, boss of Future Times) and fomenting a creative fusion that hits at the square root of their shared tastes for unruly, deadly rhythms. In a transatlantic back ’n forth - or what Kodwo Eshun termed a double refraction - they juggle the rudest aspects of UK hardcore, as derived from electro, breaks and garage-house - that would feed into Dolo’s pool of sound, and return to the UK via the likes of breakbeat wizard Karizma, who was a key touchstone for the whole late ‘90s broken beat movement key to Demdike’s tastes. Still following the thread? It’s not that tricky - both US and UK operators favour breakbeat music more than anywhere else, and this devilish hook-up is the epitome of a conversation ongoing for generations now. At each parry, the three cuts here are exemplary of the way DJs, producers and dancers on both sides of the pond have pushed each other to new heights in a feedback loop designed to make the dance throw the maddest shapes. ‘DOLO DS 1’ racks up a full clip of flintiest breakbeat hardcore, pivoting gasping samples inna dervish of ruffneck syncopation, ruggedly distinguished from the pitching, gritty drum machine chicanery of ‘DS DOLO EDIT 1’, and their super crafty sidestep into the offbeats, hingeing around ghost snares and practically spectral levels of percussive suss in ’DOLO DS 2’ which basically sounds like a prime Autechre tumbling thru dub. It’s fair to hear recent Demdike mixtapes such as ‘Physics’ as the testing ground for this steez, and if you love that one as much as we do, you’ll be snatching this one f a s t.

A first box set containing 16 CDs, presenting more than 40 works and 18 hours of listening, including never released before music by Denis Dufour and texts in a detailed booklet (Fr/Eng/Ger). With his morphological and expressive approach to sound, Denis Dufour works on pieces in a constant state of renewal and on ideas that are specific to each piece. This results to a work looking like a large fresco in which no theme sounds alike, containing varied and breathtaking soundscapes and a patchwork of sounds, thoughts and colors that enable us to appreciate the sheer imagination as well as the consistence of his style. By deliberately but effortlessly opening his music to all sounds, Denis Dufour works with liberty, independence, rigor, and craftsmanship so refined that makes one forget oneself. Every second of sound is wrapped by a conscious ear so that so that his work contains no trace of automatic tools. Composer, teacher, researcher, director of label and festival, Denis Dufour, has greatly contributed to the development of acousmatic art in the world during forty years. First volume of the integral of his acousmatic work, this boxset regroups 44 works of Denis Dufour, composed between 1977 and 2020. Each one of the 16 discs is conceived as a listening program, which provides to listeners an immense landscape. The second volume is expected in 2022, and his instrumental work is under publication as well.

A heavyweight library record delivered straight from the Gods; truly, we are all blessed: Dubmaster Dennis Bovell presents cLOUD mUsIc. A miraculous set of loose limbed, slinky funk-forward dub on the A-Side with totally blunted, spaced out trippiness on the grooving versions gracing the flipside.

A pioneer of dub and progenitor of lovers rock, genius producer-arranger Dennis 'Blackbeard' Bovell's prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock, afro-beat to post-punk, disco to pop and beyond.

His production work encompasses such diverse figures as Ryuichi Sakamoto, The Slits, Fela Kuti, Linton Kwesi Johnson, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, I Roy, Maximum Joy, Steel Pulse and more.

cLOUD mUsIc features 8 new, deep, never-heard heaters, initially created for upstart UK library label FOLD.

2 vinyl discs with sleevenotes and graphics from the great Dennis Bovell.

Dennis Bovell’s prolific and eclectic career encompasses a huge range of music: from dub poetry to lovers rock to post-punk to disco to pop and beyond. His production work encompasses such diverse figures as The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse and more.

This compilation focuses on the period during and immediately after Bovell’s involvement with the Jah Sufferer Sound System, digging deep to find deep cuts and lesser known versions, mainly from 1976 - 1980, plus a killer and lesser heard dub of the iconic “Silly Games”. Painstakingly restored and remastered at Dubplates & Mastering in Berlin so that these decades old tracks sound pristine and dynamic, and sequenced to take the listener on a journey through Bovell’s production and arrangement genius.

The accompanying sleevenotes are a result of a long conversation with Dennis about this period of his life, with track-by-track recollections and fascinating biographical asides. The vinyl and CD versions feature variant artwork, each format utilising a unique photo by Syd Shelton.

Dennis Bovell is a genius who cannot be ignored when talking about British reggae. This compilation of his most core and rare songs from the lovers rock recordings he produced in the 1970s and 1980s is now available on LP for the first time!

Dennis Bovell is a producer, musician and engineer who is indispensable when talking about British reggae. In 2008, P-Vine compiled the best tracks from Dennis' master recordings titled "Reborn British Reggae" under the supervision of Haruyasu Kudo BIG'H, and released "The British Core Lovers" on LP for the first time. This album is packed with recordings that will make any reggae fan drool, including Marie Pierre's lovers cover of the Young Rascals' "Groovin'," a classic that has been covered by many musicians including Marvin Gaye and Aretha Franklin, and was also cut into a 7-inch version!

■Track list

SIDE A:
A1. DELROY WILSON - Hooked On You
A2. THE DUB BAND - Ang Up
A3. JANET KAY - Can't Give It Up
A4. STEVE GREGORY - Sax It Up (Instrumental - Sax)
SIDE B:
B1. DENNIS MATUMBI - Raindrops
B2. DB AT THE CONTROLS - Eye Water
B3. LOUISA MARK - Gone Out
B4. PAUL DAWKINS - To Love Someone
SIDE C:
C1. PAUL DAWKINS - Ready To Dance
C2. JULIO FINN - Nasty
C3. MARI PIERRE - Walk Away
C4. MARI PIERRE - Say A Little Prayer
SIDE D:
D1. MARI PIERRE - Groovin'
D2. ROLAND G - Hear It Through The Grapevine
D3. VIOLA WILLS - Keep On Coming
D4. 4TH STREET ORCHESTRA - Hawaii Five O

Released in 1983 on a miniscule run of 300-self-financed LP’s, Dennis Taylor’s ‘Dayspring’ remains a lost masterwork of transcendental instrumental guitar. An important missing link between the 60’s folkloric experimentalism of John Fahey and Robbie Basho, and the new age atmospherics mined by William Ackerman and Michael Hedges in the early 80’s. Though Taylor’s guitar playing remains crisply unadorned on these 10 tracks, his technique and his compositions stretch beyond the folk roots of the genre. He crafts a soundworld that is both immersive and familiar. His pastoralism has a spaciousness - a pianistic drift - that feels truly timeless. Taylor cut his musical teeth through the 60’s and 70’s playing with garage rock bands, and later finding his footing in the world of jazz/folk fusion. Sometime in the early 70’s, Taylor found his most profound inspiration to date when he witnessed a live performance from Takoma Records luminary, Leo Kottke. Enraptured by Kottke’s ability to fill the room so completely, with the sound of just one instrument, Taylor was determined to follow a similar path. Thus, he began composing music for solo guitar. He spent nearly a decade writing and honing his pieces, finally entering a studio in 1982 to commit them to tape. Taylor likened the recording experience to “a living room concert.” He recorded each song in a single take, in the order they appear on the album. Paying out of pocket for the recording sessions, studio time was at a premium, so Taylor had arrived prepared. And the results speak for themselves. Dennis Taylor’s guitar playing is clean, precise, and masterfully proficient. And yet, ‘Dayspring’ is not merely a document of technical ability. His compositions are deeply expressive. Taylor’s deft fingerpicking is married to achingly beautiful melodicism. His arpeggios chime and roll with painterly expression. Across the breadth of ‘Dayspring’, Dennis Taylor strikes a perfect balance between wistful nostalgia and bold expansion. Though Taylor initially hoped to release his album with new age progenitors Windham Hill, he ultimately decided to release the album on his own. He self-financed a pressing of 300 LP’s, which were largely distributed locally in his hometown of Lincoln, Nebraska. And now, Morning Trip is supremely proud to bring this album back to light. An important missing piece in the expansive tapestry of instrumental guitar music, finally restored on its original format.

Derek Bailey x Han Bennink !!!! The live recording from Incus in 1972, in which Han Bennink, who was personally enthusiastic about coming to Japan this year, also participated, is the first vinyl reissue over 45 years. A collaboration album between Derek Bailey and Han Bennink. Beninck, who makes strange voices and hits things other than drums against Bailey's electric guitar, and messy performances such as turning on the radio, but ... Bailey's calmness and listening. Isn't it a contrast? Sometimes the moment Bailey demands silence is also wonderful. And Rashad Becker's great remastering and perfection at that prestigious Abbey Road Studios.

Another sterling piece of improv history from Incus via Honest Jon’s, this time Derek Bailey’s spellbinding, teetering excursion with legendary percussionist Jamie Muir (King Crimson), who previously collaborated in The Music Improvisation Company. Less jarring, more wildly fluid and flowing into thrilling new spaces, from tribal rhythms to the kitchen sink…

“Percussionist Jamie Muir was a member of King Crimson during the recording of Larks’ Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.

There’s no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can’t hear echoes of any particular jazz drummer in Muir’s playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who’d come before him).

What on earth did Muir’s kit consist of? Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be… well, anything. Old suitcases thwacked with rolled up newspapers? Tin cans and hubcaps inside a washing machine? Who cares? It sounds terrific – but if you’re the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.

Dart Drug is consistently thrilling, and often very amusing – but it’s certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too? That’s precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight?  Sometimes Bailey’s content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir’s junkyard, but elsewhere he sets off into uncharted territory himself.

“The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) – which is to give music a future.” Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.

Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.

Very hotly recommended.”

“This is one of those moments that we’re always hoping for, and it's so rare. And it's so hard to talk about, because it's so beautiful. It's like you're seeing some new species of plant that you never knew existed or something.” – Bill Frisell frozen reeds is proud to present the only recorded duo playing of two legendary musical figures. Derek Bailey and Paul Motian – two longstanding pioneers of distinct strains of improvised music – came together for a brief period of collaboration in the early 1990s. Tapes of their two known live performances (one at Groningen’s JazzMarathon festival in the Netherlands, the other a year later at New Music Cafe, NYC) were recently unearthed in the Incus archives, and their contents will surprise and delight fans of both supremely idiosyncratic musicians. The Groningen concert (1990) is released on vinyl, while the New York date (1991) is included with the digital download, free of charge for all purchasers. A conversation between Bill Frisell and Henry Kaiser on Bailey, Motian, their intertwined backgrounds, and the significance of these recordings is included as sleeve-note insert. Each player bringing decades of crucial experience to their encounters – with histories taking in vast swathes of the development of jazz and free improvisation – these fleeting shared moments provide some of the most riveting playing in the career of either. There is precious little recorded evidence of Motian as a free improviser, but his mastery is beyond any doubt in these recordings. From knife-edge precision to textural haze, Motian’s palette is astounding, but perhaps even more impressive is his confidence in the non-idiomatic conversation itself. Pushing far beyond the established vocabulary of free percussion, his playing allows a measured degree of repetition to take form, giving rise to almost song-like structures. The covert influence of the drummer’s work on the post-rock genre (just taking its first nascent steps in the early 1990s) is made overt here. In turn, Bailey allows some of his most unashamedly melodic passages to unfold without a mote of his trademark contrariness or antagonism. Patterns that would be acerbically disrupted elsewhere are allowed to settle, with variations of note and timbre introduced more gradually than is typical of his playing. When forceful changes in dynamics or tone do arrive, they do so in such close tandem with Motian’s rhythmic and textural transitions as to beggar belief. The guitarist’s duos with percussionists (Jamie Muir, Han Bennink, John Stevens…) arguably provide some of the highlights of his discography. ‘Duo in Concert’ represents a strong addition to the list. An elegant sense of construction pervades the sets, as the duo ably fulfil the promise of free improvisation: carving out hugely compelling, expertly balanced, and thrillingly paced music as if from thin air.

Derek Bailey’s incredible debut solo showcase is given a necessary, expanded reissue as part of Honest Jon’s reissue series of important releases on Bailey and Evan Parker’s Incus Records. The original LP of finger-flaying improvisations and Bailey’s takes on works by Gavin Bryars and Misha Mengelberg is now augmented by an extra disc of farther improvs, including a solo show at York University in 1972. The late, great guitar pioneer’s Solo Guitar remains pivotal testament to his endeavours in dismantling modern instrumental music and freeing it to more curious routes of expression, much in key - so to speak - with the US free jazz and improvised music which it evolved from. Love it or not, this record remains a totem of late 20th centre musical exploration. “Recorded in 1971, Solo Guitar Volume 1 was Bailey’s first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years — Incus 2 and 2R — with different groupings of free improvisations paired with Bailey’s performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972; a welcome shock at the end of an evening of notated music. It’s a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence and wit.”

When Cyro Baptista moved to New York in 1980 from his home city of São Paulo, he brought with him an arsenal of percussion instruments, including the cuica (friction drum), surdo (the booming bass drum associated with samba), berimbau (single-string bow with resonating gourd), and cabasas galore, in the next few years deploying them most notably in numerous ensembles curated by John Zorn, who helped set up this studio session in 1982.
As you might expect from someone whose infectious grooves have graced the work of Herbie Hancock, Astrud Gilberto and Cassandra Wilson, Baptista expertly fires off cunning polyrhythms, even traces of thumping samba, with restless fluency. Bailey the wily old fox skirts and eschews the bait, which is quickly conjured away and newly fashioned. The guitarist homes in on the delicious squeaks of the cuica and the twanging drones of the berimbau with truly awesome tonal precision. You could sing along if you wanted, after a caipirinha or two. And he gets almost as many different sounds from his instrument as Baptista can from his kit – check out the stratospheric plings and string-length fret-sweeps of Tonto, which sound more like a prepared piano than an acoustic guitar.

Wonders abound, from the berimbau/bent-string exchanges that open Quanto Tempo to the delightful collision of howling cuica and spiky bebop on Polvo, and the spare, preposterous Webernian samba of Improvisation 3. These days, ‘improvisation’ often appears without its customary qualifier ‘free’. If there were ever a case to be made for its reinstatement, this album is the best supporting evidence. Freedom means you’re free to get into the groove, free not to, free to play with each other, free to play against each other. Sometimes frustrating, even scary, but more often than not in the hands of these two great masters it’s hilarious, exhilarating and utterly irresistible.

A timeless masterpiece live album recorded by Derek Bailey, one of Britain's leading free improvisation giants, in Paris and London and released on his own label, Incus in 1980, by Honest Jon's with the addition of two unsound sources. The first vinyl reissue!

Just twisting space-time, devilish performances, thrilling moments. Audience alarm? Even if it is interrupted at, it does not bother me at all, and even that is taken in as an element, and there is also a performance that can afford to tighten it perfectly. You can feel some kind of elegance in Bailey's performances that are completely mature. An overwhelming spiritual pressure improvisation sound derived from endless self-questioning and self-answering. 2 additional unreleased tracks are included. If you like music, you shouldn't end up with an unexperienced masterpiece of the century.

SCULPTURES is composer and pianist Derek Hunter Wilson’s third solo album, an ode to the ancient and contested shorelines of the Pacific Northwest. Deeply embedded in place, the six longform pieces that make up the album reflect the artist’s journey through grief (including losing his father) and the passage of time, each one built upon loops created from extended sessions with harpist Joshua Ward. Like the foggy, moss-encrusted locations that inspired the album, Sculptures has a timeless feel to it, shadowed by the rumblings of a colonial system in decay. Award-winning poet Mathias Svalina composed a poem in honor of the album, entitled “A Dream for Sculptures”: "The roof of the church collapsed long ago. Vines cover the stone walls, thick, old columns of rough, dark bark & new shoots so thin & so green they almost seem, when the breeze shakes them, to be more light than plant. Tall grasses & thorny things twist through the weather-warped pews, the air thick with plant-wet breath. Each architectural feature of the church has been smoothed & vagued by growth, all but the altar, which sits on a square slab of white marble. You walk to the altar, stepping through the tangles of scrub & burr as smoothly as crossing a salt flat. You rise onto the slab of marble. The air thinner & dry. And from here you can hear it, the insistent creeping & creaking of never-ending growth, wordless with want. A small gold bowl has been left on the altar. In the bowl sits three blue flowers. The petals have been tied back with thin silver, each petal tightly overlapping another, the bloomed flowers have been forced back to buds. You lift one blue flower to your nose. It smells of old coins, shiny from centuries of fingers, of corroded batteries. Vibration rises through your feet. And again. And again. There is something beneath the altar, trying to get out. You press your shoulder into the altar & push with all your might. Your every tendon & muscle strain. Your lungs burn. Sweat streams from your face. And finally, the altar moves, only a touch & then it grinds forward, revealing a hole. Beneath the altar the cold seas splashes, wave after wave of icy saltwater churning up. You take a deep breath. You close your eyes. You dive in."