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“I did this piano/Rhodes recording, played live, without overdubs. I believe your approach to sound could match very well these tracks….”

That’s how Giovanni Di Domenico’s collaboration with Rutger Zuydervelt started, though the first seeds were planted when the duo did a short live improv together in 2019, and Giovanni joining Hydra Ensemble on stage in 2022.

Painting a Picture / Picture a painting is -as the title suggest- an album of two long-form pieces, swapping the working method for each - one takes Giovanni’s recordings and has Rutger processing and adding to it, while the other one started with Rutger creating its foundation (with manipulated sounds of the first piece), and Giovanni building upon it. This resulted in two meandering tracks that are clearly linked, like two sides of the same coin.

The cover, a painting of an empty canvas, is made by Christiaan Kuitwaard. A beautiful and ultimately fitting visual addition to this mysterious release.

A masterpiece that updating the lineage of Italian avant-garde music, which has been reevaluated in recent years, to the present day! He is known for his prolific compositional activities, and this year he has already dropped a number of works on prestigious labels such as Die Schachtel, 901 Editions, and Matière Mémoire. He has also collaborated with powerful artists such as Jim O'Rourke, Akira Sakata, Tatsuhisa Yamamoto, and Eiko Ishibashi. Belgian cellist/maestro Jean-Paul Dessy, jazz bassist Manolo Cabras, and other performers participate in the project. Three full-length modern classical/minimal drone pieces by different ensembles, with an obscure, clean and sublime sound image that is recommended for those who like Hans Otte and Charlemagne Palestine. This is a must have for analog. Limited edition of 300 copies.

Written and recorded with the goal of creating a one-movement suite in the least amount of time possible, "Succo di formiche" reflects the archetypal joy of music making, the spontaneous impulses underlying its formation, and a love of the record album form.

all music by G. Di Domenico (SIAE/SABAM) E. Ishibashi (Jasrac/Space Shower Network) J. O’Rourke (Field Code Music/BMI) J. TaliA (APRA) T. Yamamoto recorded in studio W (Brussels) Atelier Eiko, Steamroom Completamente TAZ (Tokyo) Good Mixture (Berlin) mixed by Jim O’Rourke at Steamroom (side A & B) Joe Talia at Good Mixture (side C) Tatsuhisa Yamamoto at Completamente TAZ (side D) mastering & cut by Frédéric Alstadt AT Ångström MASTERING, Brussels Cover photo by François Moret «Between Deauville and La Rochelle» Courtesy Of Spazio Nobile Gallery, Brussels Graphics & layout by Cedric D’hondt

Tidal Perspectives is an album by Giovanni Di Domenico, Pak Yan Lau, and John Also Bennett. Recorded across a single afternoon in Brussels, Belgium, the album’s four parts are a rippling alchemy of processed Rhodes piano, sizzling ceramics, and liquified bass flute, a rare meeting of three unique voices from the contemporary music landscape that manages to flow with the effortless inevitability of the oceanic tides. Giovanni Di Domenico, an accomplished composer and prolific collaborator who has released albums with Jim O’Rourke, Eiko Ishibashi and Akira Sakata, among many others, initiated the collaboration with Bennett after the two met at a record fair in Saint-Gilles, Belgium and bonded over a shared inquisitiveness for unconventional sonic combinations. Along with Pak Yan Lau, a Belgian-born sound artist and improviser who has developed her own rich and unique sonic footprint, the trio entered the studio with little, if any, discussion beforehand, jumping right into playing without preconceived structures. The resulting recordings had a depth of sound and emotional resonance surprising even them, with finished pieces emerging from single live takes and minor edits. Bennett, known for his solo work as well as his collaborations with Christina Vantzou as CV & JAB, gives us here a taste of his bass flute in free flowing form. Unconstricted by concept, joyfully and lazily bouncing off the melodic shimmers of Di Domenico’s Rhodes, Bennett uses his flute’s pitch information to trigger long tones that emerge like rays of light piercing through low hanging clouds - moments of clarity among a clicking world of sonic stimuli. Meanwhile, Lau’s crackling and sometimes dissonant contributions on prepared piano, live hydrophone, and custom ceramic sound objects balance out the triangle, adding a sense of microcosmic intrigue that allows the music to seamlessly ebb and flow between moments of comfort and foggy uncertainty. The album’s title track and climax, the eighteen minute “Tidal Perspectives”, drifts in with some kind of clarity, Lau’s glinting tonal waves edging in just beyond the horizon lines drawn by Di Domenico’s Rhodes and Bennett’s bass flute. But like the tidal flows of the Atlantic that inspired its title, just as you begin to perceive what’s happening, the currents have already taken you out to sea.

Giovanni Tommaso is the greatest Italian Jazz bassist and founder and member of the most important ever Italian Jazz Rock ensembles, the Perigeo band. He composed "INDEFINITIVE ATMOSPHERE" at the end of 1969, released a few months after in 1970 on Sermi label, and recorded it at Rca studios in Rome. "INDEFINITIVE ATMOSPHERE" represents a special album for him and for us as well, since it was his first album released as a sole composer/artist. The Maestro dug in personal archive for us and finally found a copy of the original master tape containing part of the recordings. Besides the misspelled title "Indefinitive" instead of "Indefinite", that became part of the legend here, this album was incredibly ahead of his time, with the young Maestro Tommaso playing electric bass and contrabass a in studio ensemble composed of 3/4 elements plus the strings section, with plenty of stunning Jazz-Funk, Jazz-Rock and Free Jazz tracks. The session is also known for including the legendary American Jazz soprano sax Steve Lacy on the track called "Steve", where he plays a sax solo. We entirely restored the full session from the original tapes found, and digitally remastered the sound for a greater sound experience, chasing the original analog source.

At Our Best! were one of the greatest and most influential bands to emerge in the early 1980s as part of a new wave of independent acts. DJ John Peel championed them, playing their singles repeatedly and inviting them to record a session for his programme. Wry vocalist Judy Evans and brutal yet melodic guitarist James Alan who’d met at art college in Leeds fronted Girls At Our Best!, the proto-Indie band that formed from the ashes of Alan’s 1977 punk band SOS! Pleasure, the sole album, reached number two in the Indie Chart. It was an album so different from the rest of the post-punk indie pack that you can still play it now and completely baffle new listeners. As John Peel said about Roxy Music, it just doesn’t seem to relate to anything else.

My Strong Will is a new album of "Ethiopian Classical Music" by Girma Yifrashewa. Recorded with Bulgarian musicians and the Sofia Philharmonic Orchestra in Sofia, Bulgaria, the album is a return to where Yifrashewa completed his own conservatory training in the late 1980s and early 1990s, across both sides of the fall of Communism. Guided by Yifrashewa's piano, these chamber works bring the music of Ethiopia into a Western Classical format, uncovering meditative and emotional new vistas for both traditions.

Black Truffle is pleased to announce Down On Darkened Meetings, the first solo release on the label from the quietly prolific Giuseppe Ielasi. Recorded at Ielasi’s studio in Monza outside of Milan over two days in February 2022, the seven pieces presented here continue the renewed exploration of the guitar that marks much of his solo work over the last few years. Emerging in the late 1990s as an improviser working primarily with prepared acoustic and electric guitars, the instrument became less prominent in his work over the next decade, ceding to loop-based constructs that would eventually split into abstracted takes on club music and hip-hop (including his work as Inventing Masks), on the one hand, and spectral electroacoustic explorations (such as the stunning triple disc 3 pauses), on the other. Returning to the guitar in recent years, he has approached the instrument as a source of shimmering metallic glissandi (Five Wooden Frames) or as the vehicle of elegiac double-tracked lines that feel almost like Frisell playing Feldman (The Prospect). Here the focus is on electric guitar filtered, looped, and splayed out into fields of irregular echoes through a bank of pedals.

Like many of Ielasi’s releases, Down On Darkened Meetings is structured as a set of short untitled pieces (here ranging between two and six minutes in length) that single-mindedly explore a single instrument or source throughout. The opening track immediately introduced the distinctive timbral world of fizzing, heavily filtered tones, chiming harmonics, and woozy looping bass figures inhabited throughout. At points it becomes near impossible to trace these sounds to the strings of an electric guitar; at others, as on the final two pieces, the instrument is unmistakable, as Ielasi builds up his shifting loops from snatches of almost unintentional sounding half-playing that give these closing tracks a hushed, private atmosphere reminiscent of Tolerance’s Anonym. While the repeating chords and hanging melodic figures present on many tracks call to mind earlier Ielasi classics like Gesine and Untitled, here the music feels less meticulously constructed than played: Ielasi’s lyrical guitar lines obscured by a battery of effects at times come across like a dilated take on the outer-fringe fretwork of improvisers like Henry Kaiser and Raymond Boni, and the muddy, asynchronous fields of pops and hiss at times wander into areas reminiscent of the hand-played dub techno of Vladislav Delay’s Multila.

Like much of Ielasi’s work in recent years, these seven pieces perform a delicate balancing act: between abstraction and immediacy, austerity and abundance. Imbued with Ielasi’s distinctive lightness of touch, considered approach to pacing, and subtly psychedelic approach to the stereo field, Down on Darkened Meetings is a major new work from a quiet master of contemporary experimental music.

伊音響系名門レーベル〈901 Editions〉から久々の新入荷！公園にスピーカーを持って行ってまったりしながら聴きたいかも?? Nicola RattiとのBellowsやInventing Masksといった名プロジェクトでも活動、Kassel JaegerやAndrew Peklerとのコラボレーションや〈12k〉に〈Editions Mego〉などからの傑出した作品も知られるイタリア実験音楽界隈の首領、そして、大名門〈Senufo Editions〉の運営者Giuseppe Ielasiによる2021年ソロ・アルバム『its appearance, reflected by three copies』をストック！2017年に発表した口笛をデジタル解析/加工したサウンドアート作品『Even When They Speak Of Space』を思い出す、共鳴し合う花弁のようでもある、トリッピーなサウンドが織りなす電子音響の傑作！6パネル・デジスリーヴ仕様。小ボリュームでの再生を推奨！

First vinyl edition of the album Rhetorical Islands, originally released by Giuseppe Ielasi in 2012 as a limited-edition CD on his Senufo Editions label, with recordings made in 2011 as a commission for l’Audible Festival, Paris. The album’s ten tracks have neither titles nor accompanying text, standing for themselves as what Ielasi himself has called “isolated sound worlds”. They are nonetheless unparalleled in their plasticity, acoustic events with a rare degree of tangibility. Ielasi evokes physical objects, some of which seem to have been constructed out of paper and cardboard, others based on a mechanics of elastic materials. Of course these objects are hallucinations, and precisely because Ielasi constructs them so masterfully there’s no need for any further information. Here’s to everyone creating their very own sculptures while listening to Rhetorical Islands! The front and back cover features 0.058, a work on paper by the artists Thomas & Renée Rapedius. They make sculptures whose form and artistic inspiration are defined by their materials. Like Ielasi’s acoustic islands, their impact derives from self-referentiality, resulting in paradoxical objects that embody both a detailed material study and a potential for free association.

Shadowing the swarming, boiling liminality of 'Croon Harvest' and 'Sub', 'The Vestige' unbalances Italian electroacoustic veteran Guisseppe Ielasi's subtle guitarwork with Manchester-based composer Jack Sheen's phantasmic post-'Automatic Writing' room tones and temporal irregularities.

Good one, this. It doesn't work on paper; the two artists' methodologies diverge significantly, with the Italian guitarist working in a more isolated fashion, while Sheen is best known for his ensemble work. But they're both drawn to sounds and forms that drift just out of focus - "mysterious, liminal musical material" in Sheen's own words - and that's the starting point for 'The Vestige'. They began by shuttling recorded material back and forth, Sheen using acoustic stems from his recent projects and Ielasi dubbing sketches with his guitar, and then polished up the ideas at Ielesi's studio in Monza, just outside of Milan. And there's an intentionality to this material that followers of either artists will recognize. Engineering the material so it's almost unrecognizable, the duo create a sequence of thirteen untitled tracks that represent the purity and allure of sound itself. Attempting to imagine this sonic liminality - a sound that's between realms, not quite music, not quite noise, not quite acoustic, not quite electronic - they blur the spectrum, creating a depth of field that's constantly captivating.

And although the album won't surprise anyone who spent time poring over 'Croon Harvest', the inclusion of Ielesi's delicate instrumentation widens the material and crumples some of its textures. On 'V7', we can hear those same Sheen-patented steam hisses and boiling whistles, but 'V9' sounds like that baton's been passed to Ielesi when his string-powered microsounds get treated with the same lopsided EQ processes. Both artists manage to mold their sources into impressions, where the texture of the sounds is more important than the aesthetic character. Just clap yr ears around the gamelan-like mid-range guitar twangs on 'V11', or the decaying brass that animates 'V12'. If you're fascinated by sound's plasticity, this one's for you.

One of the most striking documents of Italy’s Minimalist movement, Giusto Pio’s "Motore Immobile" is a masterwork with few equivalents. Produced by Franco Battiato in 1979, at the outset of a long and fruitful period of collaboration between the two composers, and issued by the legendary Cramps Records, its triumphs were met by silence, before falling from view.

Emerging on vinyl for the first time since it’s original pressing, "Motore Immobile" now sits within a reappraisal of a large neglected body of efforts made by the Italian avant-garde during the second half of the 1970’s and early 80’s. It is singular, but not alone. It resonates within a collective world of shimmering sound, one familiar to fans of Battiato, Lino Capra Vaccina, Luciano Cilio, Roberto Cacciapaglia, Francesco Messina and Raul Lovisoni.

An exercise in elegant restraint - note and resonance held to the most implicit need. Where everything between root and embellishment has been stripped away. A sublime organ drone, against interventions of deceptively simple structural complexity - executed by Piano, Violin, and Voice. A sonic sculpture reaching heights which few have touched. A thing of beauty and an album as perfect as they come. The reemergence of Motore Immobile heralds what is unquestionably one of the most important reissues of the year.

Side A: Motore immobile 16:59
Organ: Danilo Lorenzini, Michele Fedrigotti
Violin: Giusto Pio
Voice: Martin Kleist

Side B: Ananta 13:58
Organ: Danilo Lorenzini
Piano: Michele Fedrigotti

Trinidad born legendary guitarist, Lynn Taitt, who brought the first wave of Rocksteady to the Island, and Gladdy Anderson who is well known for a Skatalites' pianist, they both got together to record this Rocksteady instrumental album 'Glad Sounds' at Federal Studio in 1968. Released from the Merritone label, which was managed under the Federal. The album depicts the hay day and best sound of Rocksteady as well as label itself. First time to be reissued by Dub Store Records. The forth reissue of the Story Of Federal program by Dub Store Records. The original UK issue was released on the Big Shot label with a different jacket design. Album tracks consist mainly of cover versions of popular tracks, which were produced by Coxsone Dodd, Bunny Lee and Sonia Pottinger. Lynn Taitt and Gladstone Anderson added gentle flavors to their versions by their distinctive instrumental plays. Also Federal's recording facility made possible to maintain this sound quality. Certainly, this is another classic album to add to your collection shelf!!

Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.

The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.

This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.

Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.

In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'. 

Glass Beams have announced their highly anticipated EP ‘Mahal’, out on March 22nd on their new label home Ninja Tune. Released alongside the news is the EP’s titular track “Mahal”.

The genesis for the Melbourne-based trio, which formed around founding member Rajan Silva, was through the rekindling of childhood memories relating to his father, who emigrated to Melbourne from India in the late 1970's. Silva recalled watching a DVD on repeat with his father; ‘Concert for George’, a star-studded tribute to late Beatles member George Harrison performed at London's Royal Albert Hall in 2002, featuring legendary Indian sitar player Ravi Shankar with daughter Anoushka, alongside Western icons Eric Clapton, Paul McCartney and ELO’s Jeff Lynne. This intersection of musical styles was reflected in the record collection of Silva's father, where the sounds of iconic Bollywood vocalists Asha Bhosle and the Mangeshkar lineage sat alongside music from blues legends like B.B. King and Muddy Waters. In particular, Silva was drawn to the fusion of Western musical styles and traditional Indian music; a concept pioneered by Indian artists like R.D. Burman, Ananda Shankar, and fraternal duo Kalyanji-Anandji.

This cross-pollination of East and West, of old and new, is a sentiment that the band have sought to capture in their self produced works. Across their output, Glass Beams presents a timeless fusion of cultures and sounds beamed through a prism of live instrumentation and DIY electronica, all wrapped up inside a mesmerizing and mystical visual world of their own making.

Their debut EP ‘Mirage’, released in 2021 catapulted them into the collective consciousness of new followers who came to discover their serpentine, psychedelic-tinged tracks through social media, streaming services and word of mouth, with the vinyl copies selling-out as quickly as it could be pressed via grassroots record store support.

In the wake of the unexpected success of their debut release and an abundance of festival invitations, Glass Beams were amplified around the globe performing hypnotic renditions of the 'Mirage' EP alongside an additional 20 minutes of unreleased music. Early clips of these “unreleased tracks” quickly began circulating online garnering millions of views and a fast-growing and ever-hungry following. As 2023 drew to a close and the dust settled after a whirlwind of touring, Glass Beams retreated to their home studio to record this much anticipated 20 minutes of music. They have named the record 'Mahal'. 

Research Records indicate their inclination for cosmic instrumentation and kraut pervaded polyrhythms once again with an introduction to newcomer Glass Beams. Recorded at the beginning of 2020, Mirage is the first release from the artist, issuing four compositions that lend from a profusion of sounds and influences. "I was looking for new energy & inspiration to write a bunch of new music. I recalled a childhood memory of my parents and I watching a DVD they had bought: ‘Concert For George’ (a tribute concert for George Harrison from the Beatles). George’s long time collaborator and friend Ravi Shanka put an Indian Orchestra together for that concert, and even though I hadn’t even started playing music at the time that I watched this, the sounds really stuck with me. My father was born in India and moved here when he was 17, and after recalling this memory I decided to look up musicians from my father’s hometown and surrounding areas. I found a wealth of Indian classical, disco and pop music that formed the building blocks for this record. As soon as I had that vision of what I wanted to write and why I wanted to write it, the songs just flowed out really." – Glass Beams The album's opener and title Mirage arrives with a coiling vocal mantra that conspires with a sliding bassline and transcendent synthwork, reminiscent of early 70’s prog jams yet inverted and futuristic. Taurus is a brisk arrangement, steeped with spaghetti-western elements and space-jazz to pave the way for the agile Kong. Rife with psych-fusion guitar phrases and instrumentation, Kong unfolds like a forecast lysergic voyage. The finale Rattlesnake nudges the serpent with intergalactic scales and spellbinding riffs. We may not know much about the enigmatic Glass Beams but Mirage is one epic inauguration, leaving the listener with more questions than answers.