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Memory is malleable. The day you met the person you love, what color shirt was she wearing? At precisely what angle did the sunlight strike his face? How exactly did they glow? These little details are precious, but the strange thing is, the more you cherish them, the more they change. Each recollection is another potential touch point where stories can shift—each replay degrades the truth. Reality’s rough edges smooth, with time. Objectivity is a myth: cameras and recording devices all contort image and sound. There’s no way to know exactly how things were. And yet we still tell the stories, to try to capture how things felt, even though the truth is always slipping through our fingers. Lemon Quartet’s second album Arts Fests eems to unconsciously circle this thematic territory. Full of loose, yet lush repetition, it seems to function like memory—each dizzy melody recalling and rewriting what came before, subtly shaping each piece as time passes. Not that they seem especially concerned with the passage of time anyway. They space out, they work in the realm of feelings, scribbling melodious abstractions that feel familiar. Rich with compassion, harmony, and gestures toward ecstatic—if not objective—truth, it’s full of the sort of pieces that demand you return to them, but sound a bit different each time, new details overtaking familiar comforts. Are you hearing them for the first time? Or just for the first time in a long time? Either way, drift away, and try to remember…

Black Truffle is pleased to announce Resonant Trees, the first vinyl release from French composer-performer Léo Dupleix. An active member of the international community of younger musicians working with just intonation, Dupleix has composed works for solo instrumentalists and ensembles in Europe and Japan, as well as performing extensively on harpsichord, piano and electronics. His music is distinguished by a formal clarity and elegance of surface, gently shaping pure intervals into delicate melodic patterns and shimmering harmonic planes. Resonant Trees presents two side-long pieces for harpsichord and ensemble, both setting slowly repeating patterns played on harpsichord and guitar within an environment of sustained tones. Dupleix performs on a French double manual harpsichord (tuned to a just intonation scheme of his own devising) and Prophet synthesizer, joined by Juliette Adam (bass clarinet), Johanna Bartz (traverso flute), Cyprien Busolini (viola), Fredrik Rasten (6- and 12-string guitars), and Mara Winter (traverso flute). The harpsichord begins Resonant Tree I alone, slowly sounding out a series of arpeggiated chords that emphasise the unique (and for unaccustomed listeners, sometimes unsettling) harmonic and timbral qualities of justly tuned intervals. Long tones from synthesiser, bass clarinet, viola and Baroque traverso flutes slowly creep into the spaces between the arpeggiated chords, joined after several minutes by delicate patterns of harmonics played by Rasten on acoustic guitars. On Resonant Tree II, a similar structure and ensemble (without the flutes) are used with quite different results. We again hear only the harpsichord at first, but this time playing a series of flowing melodic lines, each of which is repeated several times. Joined again by long tones from the ensemble, here the viola is particularly prominent and its interplay with the harpsichord creates fascinating acoustic effects. In both pieces, repetition gives the music a static, stable quality while, at the same time, the exact shape of the repeating patterns remains difficult to grasp. As Dupleix writes, these pieces dream of music as ‘space and a sound that one could grasp in one’s hand.’ As the near-static quality of the repetitions and long tones with little incident make these two stretches of musical time feel like spaces for the listener to inhabit, the small variations on a narrow range of related material act like a three-dimensional object whose each facet is examined in turn. At once austere and seductive, Resonant Trees takes its place beside the work of contemporaries like Catherine Lamb, while also calling up the languorous melodic world of Mamoru Fujieda, the dignified melancholy of Satoshi Ashikawa’s classic Still Way and the espaliered chamber atmospherics of the Obscure catalogue.

Welcome to the Encyclopedia Sónica: Every sound you will hear on this album has been recorded by me since 1994 in different parts of the world. On top of these sounds, their melodies and rhythms grow the compositions you will hear. Some of the pieces have a collaborator that integrates with the sounds in different ways. Since I was a little boy, I always found music everywhere. I remember listening to the engine of my mother's car and finding incredible rhythms there. I've always thought that every sound we hear can be made into music. Every sound we hear can be heard as music, felt, and understood as music. Every sound has an attack, a decay; some have a pitch. What is more beautiful - the sound of a flute, bird, trumpet, car horn, violin, or buzzing mosquito? They can all be used to make music. If we learn to hear all sounds as 'musical', or at least having the potential to be used to make music, we might look at and listen to the world more lovingly. That car passing by had a beautiful crescendo. That dog barking in the distance created an amazing melody with an impossible-to-transcribe rhythm. Is there no creative intention behind those sounds? Can the listener give them an intention? Can the listener transform them into art? I am just trying to organize and use them in a way that they will be musical to you, hoping that the next time you hear an ocean wave breaking, or a bonfire crackling, or a fly flying, you can enjoy the notes and the rhythms they are making. They are being created by something - who knows what the intention is, but some of the most amazing rhythms I've heard come from rocks falling in cenotes or ice breaking down in a glacier. The melodies I've listened to, from bats, dogs fighting, or newborn dogs, are haunting and beautiful. The timbre from sounds such as the thorn of a cactus, the voice of a homeless person in the street, or a mosquito buzzing can be used to create instruments as beautiful as any instrument. They have a new sound, or familiar old sound, used differently in a way that invites us to hear the music created by this planet. I hope you enjoy these sounds... Leonardo Heilblum

“How to begin? No beginning... never ending reverberation,” Antoine Beuger writes in the accompanying notes to Leo Svirsky’s River Without Banks. Dedicated to his first piano teacher Irena Orlov, River Without Banks is a mesmerizing, emotional collection of pieces that are simultaneously complex and fluid. The title River Without Banks comes from a chapter of musicologist Genrikh “Henry” Orlov’s profound work Tree of Music. In said chapter, Orlov traces the history of sacred music from the Western and Eastern tradition and how the forms (of the chant, raga etc.) sought to eliminate the division between the physical and the spiritual--the bank and the river.

Arranged for two pianos with accompaniment from strings, trumpet, and electronics, this is Svirsky’s first piece to approach the history of the piano and the possibilities of the recording studio, and his deepest dive yet into exploring the instability of listening and its transformation of musical semantics and affect. Like Wolfgang Voigt’s Gas project, Svirsky overlays romantic musical gestures to create a lush unfamiliarity. No sooner than each track begins the next moment unfurls beneath it, cascading time and blurring perception of past and present.

Akin to a multidimensional Rzewski thematic interpretation, Svirsky’s music defies genre-classification or classical ideology while its virtuosity clearly stems from somewhere from within disciplined traditions. Continuously revisiting, revising, and renewing its emotional core, River Without Banks is less an album of songs than songs of a singular, unlocatable album. Performed by the composer with assistance from Britton Powell, Max Eilbacher, Leila Bordreuil, Tim Byrnes, and recorded by Al Carlson.

“How to begin? No beginning... never ending reverberation,” Antoine Beuger writes in the accompanying notes to Leo Svirsky’s River Without Banks. Dedicated to his first piano teacher Irena Orlov, River Without Banks is a mesmerizing, emotional collection of pieces that are simultaneously complex and fluid. The title River Without Banks comes from a chapter of musicologist Genrikh “Henry” Orlov’s profound work Tree of Music. In said chapter, Orlov traces the history of sacred music from the Western and Eastern tradition and how the forms (of the chant, raga etc.) sought to eliminate the division between the physical and the spiritual--the bank and the river.

Arranged for two pianos with accompaniment from strings, trumpet, and electronics, this is Svirsky’s first piece to approach the history of the piano and the possibilities of the recording studio, and his deepest dive yet into exploring the instability of listening and its transformation of musical semantics and affect. Like Wolfgang Voigt’s Gas project, Svirsky overlays romantic musical gestures to create a lush unfamiliarity. No sooner than each track begins the next moment unfurls beneath it, cascading time and blurring perception of past and present.

Akin to a multidimensional Rzewski thematic interpretation, Svirsky’s music defies genre-classification or classical ideology while its virtuosity clearly stems from somewhere from within disciplined traditions. Continuously revisiting, revising, and renewing its emotional core, River Without Banks is less an album of songs than songs of a singular, unlocatable album. Performed by the composer with assistance from Britton Powell, Max Eilbacher, Leila Bordreuil, Tim Byrnes, and recorded by Al Carlson.

Felis Catus and Silence is a breakthrough release for Tokyo composer-guitarist Leo Takami, following the milestone albums Children’s Song (2012) and Tree of Life (2017). Takami counterpoints the soothing aesthetics of prime-era Windham Hill New Age guitar-heroism with meditative, intellectual compositions comprised of ambitious, process-oriented arrangements. While Takami largely wears his genre influences on his sleeve -- jazz, classical, Japanese gagaku -- the influence of ambient music is a tacit foundation of his work. Working diligently outside of any established communities for fringe musics, Takami conjures this association through a patient focus on generous musical intervals. Steady, kaleidoscopic unfolding of his compositions reflect Takami’s creative intent to “become aware of precisely the time and place I am living.” The unabashedly sweet, tuneful virtues of his music in concert with this reflective form provide an artistic relief of Takami’s thematic harmony. “Each song is based on birth and death, and moving onto the next stage...”

Leo Takami, born 1970, studied guitar under Hideaki Tsumura (aka Kamekichi Tsumura) and performs regularly in Tokyo.

Adroit jazz guitar, prog rock fantasia, and Japanese environmental music all rest comfortably behind Leo Takami's Next Door. The follow up to the acclaimed Felis Catus & Silence, Next Door finds Takami ruminating on passages — of time, seasons, consciousness. Through music, Leo contemplates daily events and finds beauty in ordinary moments. He also seems to be questioning the value of being stuck in the world, allowing his mind to wander towards something beyond it. His music is earnest, deeply personal and introspective, and is sort of akin to Rousseau’s Reveries of the Solitary Walker or Kenji Miyazawa’s Night on the Galactic Railroad. On “As If Listening” Takami takes inspiration from a Van Gogh art show organized chronologically, articulating the sense of “enlightened resignation” that is intrinsic in the act of creativity. “Beyond” is a dream of otherworldly nostalgia, a watercolor of past lives. His music is a hazy cinema of memory, the soundtrack to a cherished memory that may have never really happened, but still radiates in the mind like the sun on an unusually warm winter day.

Adroit jazz guitar, prog rock fantasia, and Japanese environmental music all rest comfortably behind Leo Takami's Next Door. The follow up to the acclaimed Felis Catus & Silence, Next Door finds Takami ruminating on passages — of time, seasons, consciousness. Through music, Leo contemplates daily events and finds beauty in ordinary moments. He also seems to be questioning the value of being stuck in the world, allowing his mind to wander towards something beyond it. His music is earnest, deeply personal and introspective, and is sort of akin to Rousseau’s Reveries of the Solitary Walker or Kenji Miyazawa’s Night on the Galactic Railroad. On “As If Listening” Takami takes inspiration from a Van Gogh art show organized chronologically, articulating the sense of “enlightened resignation” that is intrinsic in the act of creativity. “Beyond” is a dream of otherworldly nostalgia, a watercolor of past lives. His music is a hazy cinema of memory, the soundtrack to a cherished memory that may have never really happened, but still radiates in the mind like the sun on an unusually warm winter day.

Hot second drop of jazz fire led by saxophonist Julian Siegel, and underpinned by the deftly muscular rhythm section of Leon Brichard and Gene Calderazo, recorded live at Mu, Kingsland Road, Dalston. Another sureshot from London’s Ill Considered Music label, whose collective counts Idris Rahman and Leon Brichard among a broader rotating assembly of free improvisers, this one attests to their midsummer ’22 show with an upfront, live, room recording witnessing Brichard and Rahman, plus drummer Calderazo sweeping between rousing, swarming spiritual jazz impulses and a more self-contained 2nd half. Quick on the heels of their April performance at the same venue, the July show shuffles the line-up to feature Brichard on double bass, not electric, with Bruno Heinen joining on piano, and swapping out Rahman for Julien Siegel on tenor sax. The asymmetric twin engine of Calderazo/Brichard’s rhythm section are loosely attuned in roiling, diffractive syncopation to propel the darting quick/slow melodies of Siegel and Heinen’s flourishing keys in the lusher first part, before they come deeper inside the pocket on the proceeding part of pent hush and bluesy swag, prepping the way for Heinen’s keys to really take centre stage in a quietly rapturous and woozy finale.

Hot second drop of jazz fire led by saxophonist Julian Siegel, and underpinned by the deftly muscular rhythm section of Leon Brichard and Gene Calderazo, recorded live at Mu, Kingsland Road, Dalston. Another sureshot from London’s Ill Considered Music label, whose collective counts Idris Rahman and Leon Brichard among a broader rotating assembly of free improvisers, this one attests to their midsummer ’22 show with an upfront, live, room recording witnessing Brichard and Rahman, plus drummer Calderazo sweeping between rousing, swarming spiritual jazz impulses and a more self-contained 2nd half. Quick on the heels of their April performance at the same venue, the July show shuffles the line-up to feature Brichard on double bass, not electric, with Bruno Heinen joining on piano, and swapping out Rahman for Julien Siegel on tenor sax. The asymmetric twin engine of Calderazo/Brichard’s rhythm section are loosely attuned in roiling, diffractive syncopation to propel the darting quick/slow melodies of Siegel and Heinen’s flourishing keys in the lusher first part, before they come deeper inside the pocket on the proceeding part of pent hush and bluesy swag, prepping the way for Heinen’s keys to really take centre stage in a quietly rapturous and woozy finale.

Columbia Recording artist Leon Bridges effortlessly transforms Pastor T.L. Barrett's "Like A Ship," updating the 50 year old gospel soul classic for the 21st century.

Leon Ware ( 1940-2017 ) is a singer-songwriter/arranger from Detroit who has been active since the 1970s and has released works on such labels as United Artists Records and Elektra, and is also known for his work producing Diana Ross and Marvin Gaye. 1940-2017). His latest album, his last, is out now on Be With. The album is a double-pack of songs by Ronald Bruner Jr, a drummer known as Thundercat's brother, Stephen Bruner, Kamasi Washington, Ariana Grande, and singer Taura Stinson, who also sings backing vocals for Usher.

This customarily smooth set from 1981 is perhaps most famous for featuring three unforgettable tracks made with Marcos Valle. Rio's pop-soul wunderkind was exploring soul textures at the same time as Leon was absorbing the rich flavour of Brazilian harmonics. Together, they crafted rhythmically sophisticated and melodically adventurous soul.

Léonore Boulanger studied drama, experimental jazz improvisation and Persian music in Paris. Her music reflects her wide interest in African folk and in composers such as George Crumb, Teiji Ito, Harry Partch and singer Meredith Monk. For their fifth album, Un Lièvre Etait un Très Cher Baiser Léonore Boulanger and Jean-Daniel Botta with percussionist Laurent Sériès compose and decompose a set of fragments of the outsider art poetry of Ernst Herbeck from Gugging center in Austria. Small formats for the movement, singed in German as in a Kindergarten Krautrock: imaginary folk, music boxes, r'n'b medievalism, motets and futuristic madrigals set up like hopscotches, Byzantine mathematics.

Legendary Midwest electronic producer, the sadly departed LeRon Carson's late 80's productions are gathered on Sound Signature with this impressive overview of his work. ‘Under The Conditions’ is vintage, raw Chicago house music in the vein of his previous releases on Theo Parrish's esteemed label. Fans of Virgo Four's lush deep house trax should definitely check this out.

Les Filles de Illighadad comes from the village of Illighadad in a remote region of central Niger. Like many of the villages in the area, its borders are loosely defined, owing to the largely pastoral population. It rests on the shore of a seasonal pond that swells during the rainy season. The center of town has a well, some small houses, and a school. But most of Illighadad’s people live in the surrounding scrubland desert, in tiny patched roof houses or temporary nomadic tents, hidden among the trees. 

Les Filles de Illighadad (“daughters of Illighadad”) was founded in 2016 by solo guitarist Fatou Seidi Ghali and renowned vocalist Alamnou Akrouni. In 2017 they were joined by Amaria Hamadalher, a force on the Agadez guitar scene, and Abdoulaye Madassane, rhythm guitarist and a son of Illighadad. Les Filles’ music draws from two distinct styles of regional sound, ancient village choral chants and desert guitar. The result is a groundbreaking new direction for Tuareg folk music and a sound that resonates far outside of their village. 

To emerge from this small village to perform on stages around the world is no small feat, and is a testament to the band’s unique sound. But their home is more than their narrative. Illighadad is central to everything about the band, from their repertoire, the way they perform, the poetry they recite, even the way they sing. Music has always traveled in the Sahel, from poetry recited by nomads, scratchy AM radio broadcasts, to cell phone recordings sent over WhatsApp. Yet even today each village has its own style. When Les Filles perform, they play the music of Illighadad. 

At the heart of Les Filles’ music is the percussion and poetry of tende—a term used for both the instrument and the type of music— whereby a mortar and pestle are transformed into a drum, and women join together in a circle, in a chorus of singing, chanting, and clapping. Sometimes it’s music for celebration, sometimes it’s music to heal the sick, sometimes it’s poetry of love. But it’s always music of people, where the line between performer and spectator breaks down. To be a witness is to be a participant, to listen is to join in the collective song. 
It’s precisely this collectivism that makes the recording “At Pioneer Works” seem so natural and timeless. Recorded in the Fall of 2019, “At Pioneer Works” finds the band at the height of their touring career. Over two sold-out shows, the band brought Illighadad to New York, their first performance in the city. Speaking of the night, The New Yorker's music critic Amanda Petrusich writes: “The crowd in Brooklyn was entranced, nearly reverent. Les Filles’ music is mesmeric, almost prayer-like, which can leave an audience agog... whatever rhythm does to a human body—it was happening.” 

There’s something bittersweet that it’s the sound of Illighadad that has propelled Les Filles’ to travel so far and so often. Playing on a stage 5000 miles from home, their performance evokes the village with a heavy ever-present nostalgia. In singing the songs of Illighadad, Les Filles’ invite the audience to share in the remembrance, to hear the poetry and driving tende, to stumble out into a night lit by a faint moon, joining in chants that carry over the nomad camps, in a call to come together and sing under the stars.

Les Filles de Illighadad present their first ever studio album “Eghass Malan.” The female led avant rock group hailing from the village of the same name bring their new genre of Tuareg guitar mixed with traditional rural folk. Versed in tradition, Fatou Seidi Ghali and her band have created contemporary studio versions that are unlike anything ever before recorded, transporting rural nomadic song into the 21st century. Les Filles are all from Illighadad, a secluded commune in central Niger, far off in the scrubland deserts at the edge of the Sahara. The village is only accessible via a grueling drive through the open desert and there is little infrastructure, no electricity or running water. But what the nomadic zone lacks in material wealth it makes up for deep and strong identity and tradition. The surrounding countryside support hundreds of pastoral families, living with and among their herds, as their families have done for centuries. The sound that defines rural Niger is a music known as “tende.” It takes its name from a drum, built from a goat skin stretched across a mortar and pestle. Like the environs, tende music is a testament to wealth in simplicity, with sparse compositions built from a few elements, vocals, handclaps, and percussion. Songs speak of the village, of love, and of praise for ancestors. It is a music form dominated by women. Collective and communal, tende is tradition for all the young girls of the nomad camps, played during celebrations and to pass the time during the late nights of the rainy season. In the past years, certain genres of Tuareg music have become popular in the West. International acts of “desert blues” like Tinariwen, Bombino, and Mdou Moctar have become synonymous with the name “Tuareg.” But guitar music is a recent creation. In the 1970s young Tuareg men living in exile in Libya and Algeria discovered the guitar. Lacking any female vocalists to perform tende, they began to play the guitar to mimic this sound, replacing water drums with plastic jerrycans and substituting a guitar drone for the vocal call and response. The exiled eventually traveled home and brought the guitar music with them. In time, this new guitar sound came to eclipse the tende, especially in the urban centers. If tende is a music that has always been sung by woman, the Tuareg guitar was its gendered counterpart, and Tuareg guitar music is a male dominated scene. Fatou Seidi Ghali, lead vocalist and performer of Les Filles is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother's guitar, she taught herself to play.While Fatou's role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In a place where gender norms have created two divergent musics, Fatou and Les Filles are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, so popular in contemporary Tuareg rock bands, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. The forgotten inspiration of Tuareg guitar, they are reclaiming its importance in the genre and reclaiming the music of tende. Recorded on their debut tour in Europe after just a handful of concerts, “Eghass Malan” maintains a feeling that is spontaneous and inspired. With a minimal effects in an artist led production, Les Filles stay true to their form and origin. Hypnotic guitar riffs, driving rhythm, and polyphonic resonant vocals combine to create an organic sound that is timeless and ancient, bridging ancient tradition and modern worlds. With songs of love, celebrating the village, and praise for the desert and its people, Les Filles create a repertoire of ancient songs, village tende favorites, and new classics. Les Filles de Illighadad breath new life into the genre, and "Eghass Malan” promises to shake up Tuareg guitar both at home and abroad.

Les Filles de Illighadad present their first ever studio album “Eghass Malan.” The female led avant rock group hailing from the village of the same name bring their new genre of Tuareg guitar mixed with traditional rural folk. Versed in tradition, Fatou Seidi Ghali and her band have created contemporary studio versions that are unlike anything ever before recorded, transporting rural nomadic song into the 21st century. Les Filles are all from Illighadad, a secluded commune in central Niger, far off in the scrubland deserts at the edge of the Sahara. The village is only accessible via a grueling drive through the open desert and there is little infrastructure, no electricity or running water. But what the nomadic zone lacks in material wealth it makes up for deep and strong identity and tradition. The surrounding countryside support hundreds of pastoral families, living with and among their herds, as their families have done for centuries. The sound that defines rural Niger is a music known as “tende.” It takes its name from a drum, built from a goat skin stretched across a mortar and pestle. Like the environs, tende music is a testament to wealth in simplicity, with sparse compositions built from a few elements, vocals, handclaps, and percussion. Songs speak of the village, of love, and of praise for ancestors. It is a music form dominated by women. Collective and communal, tende is tradition for all the young girls of the nomad camps, played during celebrations and to pass the time during the late nights of the rainy season. In the past years, certain genres of Tuareg music have become popular in the West. International acts of “desert blues” like Tinariwen, Bombino, and Mdou Moctar have become synonymous with the name “Tuareg.” But guitar music is a recent creation. In the 1970s young Tuareg men living in exile in Libya and Algeria discovered the guitar. Lacking any female vocalists to perform tende, they began to play the guitar to mimic this sound, replacing water drums with plastic jerrycans and substituting a guitar drone for the vocal call and response. The exiled eventually traveled home and brought the guitar music with them. In time, this new guitar sound came to eclipse the tende, especially in the urban centers. If tende is a music that has always been sung by woman, the Tuareg guitar was its gendered counterpart, and Tuareg guitar music is a male dominated scene. Fatou Seidi Ghali, lead vocalist and performer of Les Filles is one of the only Tuareg female guitarists in Niger. Sneaking away with her older brother's guitar, she taught herself to play.While Fatou's role as the first female Tuareg guitarist is groundbreaking, it is just as interesting for her musical direction. In a place where gender norms have created two divergent musics, Fatou and Les Filles are reasserting the role of tende in Tuareg guitar. In lieu of the djembe or the drum kit, so popular in contemporary Tuareg rock bands, Les Filles de Illighadad incorporate the traditional drum and the pounding calabash, half buried in water. The forgotten inspiration of Tuareg guitar, they are reclaiming its importance in the genre and reclaiming the music of tende. Recorded on their debut tour in Europe after just a handful of concerts, “Eghass Malan” maintains a feeling that is spontaneous and inspired. With a minimal effects in an artist led production, Les Filles stay true to their form and origin. Hypnotic guitar riffs, driving rhythm, and polyphonic resonant vocals combine to create an organic sound that is timeless and ancient, bridging ancient tradition and modern worlds. With songs of love, celebrating the village, and praise for the desert and its people, Les Filles create a repertoire of ancient songs, village tende favorites, and new classics. Les Filles de Illighadad breath new life into the genre, and "Eghass Malan” promises to shake up Tuareg guitar both at home and abroad.

The 2014 debut solo collection by French wind-walker Baptiste Martin aka Les Halles remains a masterpiece of soft light and subdued yearning, woven from grainy panpipe samples, tape hiss, and spectral delay. Recorded late at night in a tiny room in Montpellier, Invisible Cities quivers like a candle by the sea, its fragile illumination flickering against an expanse of sky, silence, and sorrow. The pieces feel both ancient and immediate, glimpsing currents behind the veil, at the threshold of presence and absence. The track titles evoke similarly transient states of echo, memory, and negative mirrors. This is music of solitude and devotion, of empty streets and unremembered dreams, fleetingly captured via the eternal alchemy of FX pedals and a 4-track. (Britt Brown) All tracks recorded by Baptiste Martin, in Montpellier (France), in late 2013. This collection of tracks is named after Italo Calvino’s Invisible Cities.

Following "CITTA' '93," which has already been released worldwide to great acclaim, the performance at the Kichijoji Baus Theater on February 13, four days earlier, is now available as "BAUS '93. The performance, which was Raley's return to the stage after a five-year absence, is also known as a legendary performance. As in "CITTA '93," Makoto Kubota again put his heart and soul into mixing and mastering the 8-channel digital multitrack master, adding cassette recordings made at the venue and stereo outs from the tuning console. The result is a concert reconstructed by Makoto Kubota with a sound image that no one has ever heard before. The members of the band on that day were Takashi Mizutani (Vo, G), Katsuhiko Ishii (G), Kiyohiro Takada (B), and Toshiro Mimaki (Dr.) The lineup was different from the rhythm section at the concert four days later, and you can hear a performance with a different face from the previous "CITTA' '93". The first pressing of the CD will also include a DVD containing a video created by Akira Uji, who used to be in charge of visual direction for Raley's, based on a video he shot on the same day on stage. The commentary was written by Jennifer Lucy Allan, a writer for "The Wire" and "The Quietus" who also has a BBC radio show. In addition, Julian Cope, well-known as the author of "Jap Rock Sampler," the monstrous book that introduced the world to Japanese underground rock, including the Larrys, has made a special contribution.

Following "CITTA' '93," which has already been released worldwide to great acclaim, the performance at the Kichijoji Baus Theater on February 13, four days earlier, is now available as "BAUS '93. The performance, which was Raley's return to the stage after a five-year absence, is also known as a legendary performance. As in "CITTA '93," Makoto Kubota again put his heart and soul into mixing and mastering the 8-channel digital multitrack master, adding cassette recordings made at the venue and stereo outs from the tuning console. The result is a concert reconstructed by Makoto Kubota with a sound image that no one has ever heard before. The members of the band on that day were Takashi Mizutani (Vo, G), Katsuhiko Ishii (G), Kiyohiro Takada (B), and Toshiro Mimaki (Dr.) The lineup was different from the rhythm section at the concert four days later, and you can hear a performance with a different face from the previous "CITTA' '93". The first pressing of the CD will also include a DVD containing a video created by Akira Uji, who used to be in charge of visual direction for Raley's, based on a video he shot on the same day on stage. The commentary was written by Jennifer Lucy Allan, a writer for "The Wire" and "The Quietus" who also has a BBC radio show. In addition, Julian Cope, well-known as the author of "Jap Rock Sampler," the monstrous book that introduced the world to Japanese underground rock, including the Larrys, has made a special contribution.

Les Rallizes Dénudés, an album full of live performances at CLUB CITTA' in 1993 will be released as a 3-disc analog record!

After releasing three original albums in 1991, Les Rallizes Dénudés resumed their live performances in 1993, making their appearance in front of fans for the first time since 1988. Following the return live at the Baus Theater on February 13, the performance at CLUB CITTA 'held four days later on the 17th became one of the most notable performances in Les Rallizes Dénudés's history and is still legendary. It is said that the tremendous volume of the guitar, which surpassed the loud volume he had played in the past, shook the door of the venue, and the audience evacuated to the lobby.
The performance, which showed an amazing performance that shook all the senses of the audience, was recorded in its entirety with an 8-channel digital recorder.
In this work, based on the multi-track sound source that has been secretly stored for nearly 30 years, Makoto Kubota's soulful mixing, which has been reconstructed with the sound source recorded at the venue, is the result of the "something that surpasses the roaring sound" that resounded that night. ” is reproduced as an album work. You can experience the rally's sound that has never been heard before.

The members on the day were Takashi Mizutani (Vo, G), Katsuhiko Ishii (G), Yokai Takahashi (B), and Yukimichi Noma (Dr).
The jacket artwork features photographs taken by Takehiko Nakafuji.
Includes liner notes by Shinya Matsuyama.

■ Recorded songs:
Side A
1. The Night, Assassin's Night
2. Memory is Far Away

Side B
1. Deeper Than the Night
2. Eternally Now

Side C
1. White Awakening_1993
2. Bird Calls in the Dusk

Side D
1. Darkness Returns 2

Side E
1. The Last One_1993(Part 1)

Side F
1. The Last One_1993(Part 2)

In 1980, Les Rallizes Dénudés, with the participation of Fujio Yamaguchi, made a legendary studio recording.

Side A
1. 氷の炎 / Flame of Ice
2. 夜の収獲者たち / Reapers of the Night

Side B
1. 夜、暗殺者の夜 / The Night, Assassin's Night
2. The Last One_1980

In 1980, Les Rallizes Dénudés, with the participation of Fujio Yamaguchi, made a legendary studio recording.

Side A
1. 氷の炎 / Flame of Ice
2. 夜の収獲者たち / Reapers of the Night

Side B
1. 夜、暗殺者の夜 / The Night, Assassin's Night
2. The Last One_1980