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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

MIZUTANI / Les Rallizes Dénudés", has been remastered and reissued by Makoto Kubota, a participating member at the time!
Acoustic and introspective, this important work offers a glimpse into the personal side of Mizutani, the core of Naked Rallies.

Due to recording time constraints, "Black Sorrow Romance Otherwise Fallin' Love With," which is included at the end of the CD, was cut from the analog LP.
As a result, this record is composed of only the unique sound sources in the history of the Raleys, which were created by a chance encounter between Takashi Mizutani and Makoto Kubota in Kyoto, Japan in 1970.

An omnibus album "OZ DAYS LIVE" recorded in '73 at the live house "OZ" in Kichijoji, Tokyo, will be released as a 2LP analog set, plus previously unreleased material that was not recorded at the time. Officially approved by , which holds the legal rights to Les Rallizes Dénudés's sound sources, and remastered from the original analog tapes by Makoto Kubota. Includes booklet with liner notes by Minoru Tezuka (manager of OZ/ later manager of Rallizes's) and rare photos from that time. Comes with craft board sleeve and obi.

An omnibus album "OZ DAYS LIVE" recorded in '73 at the live house "OZ" in Kichijoji, Tokyo, will be released as a 2LP analog set, plus previously unreleased material that was not recorded at the time. Officially approved by , which holds the legal rights to Les Rallizes Dénudés's sound sources, and remastered from the original analog tapes by Makoto Kubota. Includes booklet with liner notes by Minoru Tezuka (manager of OZ/ later manager of Rallizes's) and rare photos from that time. Comes with craft board sleeve and obi.

Les Rallizes Dénudés' original album "'67-'69 STUDIO et LIVE", released in August 1991, has been reissued with vinyl LP! This is a valuable collection of sound sources from the early days of the band's activities, filled with the electric guitar feedback that would determine the direction of the band's later activities.

FACE A 
1. Smokin’ Cigarette Blues (Live Version) 
2. La Mal Rouge 
3. 眩 暈 otherwise My Conviction 
    Vertigo otherwise My Conviction 

FACE B 
1. Les Bulles de Savon 
    Soap Bubbles 
2. 記憶は遠い 
    Memory is far away 
3. 鳥の声 
    Bird calls in the dusk 
4. My Conviction (2nd. Version) 
5. The Last One _1969 (Live Version)

*The two bonus tracks "Résonance" and "Tobacco Road" on the CD reissue of the same title will not be included on the LP.

Simultaneous purchase set of three original Les Rallizes Dénudés albums LPs with bonus 12-inch, available in limited quantities!

Special 12-inch for purchasing all three albums at the same time. 
The "Romance of Black Sorrow otherwise Fallin' Love With," which was cut from the analog LP of "MIZUTANI / Les Rallizes Dénudés" due to the recording time, and two bonus tracks from the reissue CD of "MIZUTANI / Les Rallizes Dénudés" will be included.
Two bonus tracks from the reissue CD of "'67-'69 STUDIO et LIVE" will be included.

FACE A 
1. 黒い悲しみのロマンセ otherwise Fallin’ Love With 
　Romance of the Black Pain otherwise Fallin’ Love With 

FACE AA 
1. Résonance 
2. Tobacco Road

3LP edition. The long-awaited reissue of "'77 LIVE", recorded live in Tachikawa, Tokyo on March 12, 1977 by Les Rallizes Dénudés, after remastering by Makoto Kubota! The contents of the album are an overwhelming flood of sound and transformative improvisation, allowing the audience to relive the miraculous one-and-a-half hour live performance.

In 1980, Les Rallizes Dénudés welcomed another guitarist, Fujio Yamaguchi (The Dynamites/Murahachibu/Teardrops), as a member. Although it was only for a short period of time (until March of the following year), the performance by the lineup with Yamaguchi left a strong, yet unique impression for the Rallies, and excited many fans.
The performance at Shibuya Attic on October 29, one of their only seven shows, is now available in its entirety in the best sound quality in existence.
The tight rhythm section in the background and the two guitars clashing and intertwining with each other create a space that is blacker than jet blackness, and it has now been brought back to life with overwhelming vividness.
I am Darkness” - ‘Ice Flame’ (*The order of the songs was changed on the LP, with the first song on the A-side and the first song on the B-side), which lasted over 30 minutes, is definitely one of the most notable performances in Raleys' entire career.
The jacket features an unpublished photo taken by Uji Akira.

In 1980, Les Rallizes Dénudés welcomed another guitarist, Fujio Yamaguchi (The Dynamites/Murahachibu/Teardrops), as a member. Although it was only for a short period of time (until March of the following year), the performance by the lineup with Yamaguchi left a strong, yet unique impression for the Rallies, and excited many fans.
The performance at Shibuya Attic on October 29, one of their only seven shows, is now available in its entirety in the best sound quality in existence.
The tight rhythm section in the background and the two guitars clashing and intertwining with each other create a space that is blacker than jet blackness, and it has now been brought back to life with overwhelming vividness.
I am Darkness” - ‘Ice Flame’ (*The order of the songs was changed on the LP, with the first song on the A-side and the first song on the B-side), which lasted over 30 minutes, is definitely one of the most notable performances in Raleys' entire career.
The jacket features an unpublished photo taken by Uji Akira.

"I’ve started to work on this album before I knew it. During June 2018 I was in Japan for a month to release my previous album "Cairn" as well as my first solo exhibition of drawings in Tokyo. Everyday on my way to the gallery I passed in front of the same building, its name kept haunting me : Rogue Hill. Back then I was digging for cheap 80’s Japanese CD’s (Balearic, New Age, Ambient,...) in second hand stores. Most of them set the tone of this album and the direction I wanted to follow. I feel there’s a direct connection between these original sources and the sound I pursue by their meditative aspect. Most of the demo songs were done before my daughter’s birth on August 2019 and were finalized since then. Many of the titles refer to this main event and relate to how it changed my position in life : being a link through time by becoming a father."

Following the arrival of their debut album ‘Alterazione’, LF58 (F.Scorcucchi and G.Tillieci) are back on Astral Industries with a special trove of outer-space explorations. Recorded one evening back in April 2019 as a live performance at Rome’s Brancaleone, the eponymously titled album offers a sprawling journey across the pan-dimensional ether. Spread across six sides of vinyl, the performance includes fully improvised material as well as choice selections from Simone Giudice, Jonas Kopp, Nuel, Birds of Prey, Rapoon, Steve Roach and Adham Shaikh. There is no doubt that the unique energy and circumstances of the evening contribute to a certain atmosphere present in the music. With seemingly no beginning nor end, the session emerges in suspension; an electric ocean of infinite deepness. Gleaming across the patter of galaxies on a wide black backdrop, its myriad vistas are projected like transitioning scenes of an unending story. The gentle tide brings with it specks of cosmic debris and mysterious signals. Soon, quiet drones are overtaken by ripples of solar flare and percussive clamours. Forms melt like liquid, a ball of amorphous plasma pulsating with ecstatic radiance. Prying open universe within universe, ‘Live at Brancaleone’ has a vastness that cannot really be contained.

For AI-38 Italian duo LF58 (Giuseppe Tillieci and Filippo Scorcucchi) present ‘Radials’. A site-specific concept piece that was recorded live on location in Venice, Radials showcases the powerful and transportive sound world which LF58 have become known for. Radials takes its name from the homonymous exhibition created by the Roman artist group Sbagliato, for the 2023 Biennale Architettura of Venice. Following a landmark renovation of the Fondaco dei Tedeschi by renowned Dutch architect Rem Koolhaas, Sbagliato proposed the spatial transformation of the historic sixteenth-century building that would blur the lines between fiction and the real. The concept, to create unexpected “voids” within the fixed order of architecture, prompts the observer to question the fleeting and subjective nature of the reality that surrounds us. The building’s main loggia – a series of five archways exposed to the Canal Grande – take on a theme of reproduction and multiplication, giving rise to infinite perspectives in a dizzying mise en abyme. Through the portal-like potentialities of the loggia, the visitor enters the gateway to a fluid realm of distorted time and space. LF58 arose to translate the visual concept of Radials into sound, delivered through a special quadraphonic concert performed at the Fondaco dei Tedeschi in October 2023. Quadraphonics, with its four distinct audio channels, were used in direct correlation with the visual elements of the installation to immerse the audience in a dreamlike, multisensory experience. The opening scene of running waters and the cacophony of the bustling city streets quickly dissolves under the chiming of nearby bells, as hidden liminal spaces become revealed. It’s not long before all remnants of the ordinary are left behind, as the listener is submerged into the shimmering frequencies of parallel dimensions. A spatial soundscape of ever-moving forms and colours, Radials descends into ever-deeper waters. As the facade of what was once known falls away, a transportive journey of mind-body alterations begins.

この界隈の重要作家が一挙参加したショーケース的1本！”音割れ”への憧憬のこもった新興ジャンル「HexD」周辺も巻き込みながら、昨今、加速度的に勢いを増すブレイクコア/ドラムンベースの世界から飛び出した、カナダの新鋭プロデューサー「lhk」。『We Do A Little Music』や『[REDACTED] 001』といった特大コンピにも参加していたこの人が、UKのネットレーベル〈FOCUSONTHE〉から8月に発表した最新リミックス・アルバム『5D TETRIS MIX & REMIX』のカセット版最終在庫をストック！Aphextwinsucks、healspirit1、saves、Andy pls、SeyNoeらレーベルメイトを中心とした面々がリミックス参加した特大盤！実に10組もの豪華ゲストを起用したフリーフォームなブレイクコア/ドラムンベース作品。版元完売につき再入荷はございませんので、この機会をお見逃しなく。

‘’之 / OF is a word that can be used as a preposition to express the relationship between a part and a whole. It is an unfinished tone, a broken sentence, a start and a whole. It is sustainable, full of potentials and longings.’’ London based performance and sound artist Li Yilei shared an experience familiar to many migrants during the past year of COVID-19 chaos. With their UK visa set to expire, and family back in China, Li made a last-minute dash to return to their nation of birth. Able to board one of the last few flights to China during the initial turmoil of the coronavirus outbreak, Li made it back to Shanghai for a two-week stint in a quarantine hotel. Though Li had already begun creating OF, the reality of the pandemic began to seep into the recordings. Each of the 12 tracks is a study in horology, using metaphorical sound transcriptions and atmospheric extractions to focus on the temporal relationship between experience and surroundings. Li’s awareness of their own understanding of time became increasingly heightened during quarantine and the emotional involvement found within these new realities informed many of the sounds created. ‘’I tried to portray each song as a short, scattered poem - a moment that I captured to represent each hour.’’ Composed using analogue synthesisers, vocal samples, field recordings and string instruments such as the violin and guqin, Li indulges in moments of grief, panic, healing, cessation, melancholy, vastness, hope, joy and emptiness as they explore the acoustic relations between humans and the many forces of nature. The art of the Song Dynasty, with its ancient traditions of poetry and timekeeping, were also great sources of inspiration for the album - whilst paintings from the period, specifically those of flowers and birds, are common themes throughout the tracks. Indeed, it is within the vastness of time that the album artwork comes to relevance. The eighth emperor of the Song Dynasty, Huizong, was a revered artist and a scene from his work ‘Finches and Bamboo’ adorns the album cover. 之 / OF is available from August 16 2021 in a limited pressing of 500 140gm vinyl in a natural translucent colourway. In support of the release Li has made a limited number of handmade xun (a traditional Chinese vessel flute used as far back as 7000 years ago) - these can be purchased from Metron Records bandcamp page. credits

It’s not difficult to find beauty in the sounds of nature – ocean waves, birdsong, rainfall – but it's easy to overlook the charm and wonder of everyday anthropogenic sounds. Equal parts reverent and playful, Normal Sounds is built around field recordings of human-made, non-musical sounds: fridge drones, grocery store beeps, car horns. Lia Kohl alternately hallows and mimics them, offering them to the listener in a new light. Using a textural cloud of cello and synthesizers, with a few notable contributions from wind players Ka Baird and Patrick Shiroishi, Kohl brings out beauty in the world’s inane noise. This interest in the mundane is not new to Kohl. Normal Sounds follows a series of pieces – The Ceiling Reposes, Untitled Radio, Variations on a Topography – which use field recordings of AM/FM radio as centerpieces. Her work hones in on unnoticed or under-documented sounds: the things we tend to tune out or hear passively. Many of the field recordings on Normal Sounds are functional, indicating danger (tornado siren, car alarms), fun (ice cream truck) or change (“the seatbelt sign is on”, “please take your receipt”). Others are simply byproducts of machine function: the drone of a fridge or airplane. While they’re sometimes intended to be heard, they’re not intended to be listened to. For Kohl, her treatment of these sounds acts as a practice of attention, or in her words “a practice of trying to be more alive.” Often this practice takes the form of mimicry: harmonizing the already-present frequencies of a tennis court light with cello harmonics, or cheekily pairing car horns with Shiroishi’s saxophone. Sometimes, she augments the soundscape more dramatically, pulling it in a new direction with melodic cello or arpeggiated synths. It’s occasionally unclear whether a sound comes from her or the world around her. She nestles each field recording into a bed of her own sounds, inviting us to listen to the world through her ears.

On their debut LP “Pome” for Quiet Time, Liai has given us a stunning work of expertly crafted rhythmic ambience, inspired by the intimacy and solitude of the midwestern countryside. Having grown up in rural Missouri, Liai channels the mixed feelings that can accompany solo contemplation in nature - expansiveness, sentimentality, vulnerability and eeriness. This deeply personal set of tracks took 3 years to make, revealed in the precision of sound design and use of space. The work feels at once familiar and organic, yet technical and futuristic, almost alien - a product of digital melodies, granular processing and frequent sampling of their own previous works.

Big Crown Records is proud to present Zero Grace, Liam Bailey’s sophomore album on the label. Following the success of 2020’s Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom’s record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes “When Will They Learn” and “I’m Gonna Miss You” which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo-fi recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through—all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push. With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener “Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. “Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance floor with him. “Disorder Starts At Home” is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope. Bailey has managed another album that moves across genres but remains entirely cohesive. The title Zero Grace represents his uninhibited energy. He wears his heart on his sleeve, he speaks his mind without filters, and he has little concern for formalities where his ambitions are concerned. He won't be held back ever. One thing is for sure, his talent speaks for itself, and it is on full display on this album.

This is the final stock out of print. A new age hymn born from a tape collage of natural sounds. "Songs Of Gold, Incandescent", a masterpiece cassette released in 2014 by Lieven Martens Moana, also known as Dolphins Into The Future, has been released on CD as an Expanded Edition.

here5It was recorded over the years, and in parallel with the ambient and electronic music works of the New Age vein, many field recordings have been released so far, but in this work, I get lost in the fictitious island country. The feeling is especially wonderful.Dolphins Into The FutureMarked pocopoco electrons ensemble with animal breathing1Beginning with the song, the recording of the water that springs from the fumaroles of the volcano, gospel, piano tunes, and the transition to environmental sounds are exquisite.Sweeten The MangoNot only collecting environmental sounds and related sounds, but alsoDolphins --LievenThe love of nature, the island and the sea is reflected in the gentle and mysterious color of the sound, and the core part is stronger than ever.

Every year, Levon has captivated the audience with his enthusiastic Philleco work, but he is also enthusiastic about this work !!! This work is an Amazon expedition record by Finis Africae, a classic of Balear Relic, "Amazonia" (1990) ) Is used as a sound material to create a new Amazon. Strongly inspired by Toru Takemitsu, Joji Yuasa, Charles Ives, Juan Alberto and others, this work has strong elements as classical and contemporary music, but it makes full use of analog and digital instruments and recording techniques, collage and sound art, We will cook shredded materials from various perspectives such as electronic music and folk music. The finest natural beauty and psychedelia, in the endless inner universe that spreads in front of the listener, the electronic sound that shimmers like a heat haze leads, and the magnificent nature and the earth beat on the leaves of the sound, a pleasant ambience Cosmicche soundscape that wanders into the unexplored interior with the wind. This emotional melody is truly unique. Undoubtedly one of the most important masterpieces in the second half of the year.

This work is a cutting-edge attempt to create a new Amazon by using "Amazonia" (1990), an Amazon expedition record by Finis Africae, a classic of Balear Relic, as a sound material. Strongly inspired by Toru Takemitsu, Joji Yuasa, Charles Ives, Juan Alberto and others, this work has strong elements as classical and contemporary music, but it makes full use of analog and digital instruments and recording techniques, collage and sound art, We will cook shredded materials from various perspectives such as electronic music and folk music. The finest natural beauty and psychedelia, in the endless inner universe that spreads in front of the listener, the electronic sound that shimmers like a heat haze leads, and the magnificent nature and the earth beat on the leaves of the sound, a pleasant ambience Cosmicche soundscape that wanders into the unexplored interior with the wind. This emotional melody is truly unique.

This Heat's Charles Bullen started this project with his friend Julius Cornelius Samuel after the band broke up, and the result is Lifetones, an eclectic mix of dub, post-punk, and krautrock that combines ethnic exoticism with UK streetwise elegance. The band's only release, "For A Reason" from 1983, has been reissued for the first time!

The title track, with its dubby strings and catchy chorus, makes you squirm in agony at the distortion of the acoustics coming at you in the latter half of the song, as well as the lo-fi sound of the equipment used in the post-punk era. In addition to the remastered original tapes, the album comes with a booklet with valuable photos and liner notes, and a gatefold jacket. This is a definitive reissue that will bring tears to the eyes of old and new post-punk fans!

PAN is pleased to announce the debut release from Lifted, an ongoing collaborative project initiated by Matt Papich (AKA Co La) and Beautiful Swimmers’ Max D.

Drawing on studio sessions recorded in their respective hometowns of Baltimore and Washington DC, the album sees the pair break free from the constrictions of the grid and exercise their versatility through improvised fusion. Working outside the framework that underlies their solo output, the eight tracks on offer showcase experiments in freeform techno, hyaline electronics, and ambient, with the duo reaching out to Motion Graphics, 1432 R co-founder Dawit Eklund, and Jeremy Hyman for additional synthesis, drumset and percussion.

The album also exhibits solo performances from Gigi Masin and Jordan GCZ (Juju & Jordash), who submitted overdubs from their bases in Venice and Amsterdam.

The album is mastered and cut by Rashad Becker at D&M, pressed on 140g LP. It features photography by Traianos Pakioufakis and artwork by Bill Kouligas.

 

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Nearly a decade after their last album, Lilacs and Champagne picks up right where that record, Midnight Features Vol. 2: Made Flesh, left off. With bizarre excursions into pillowy, sentimental made-for-TV music – and children's choirs incanting the blackest dread-filled music the band has conjured to date – Fantasy World is both transcendent and traumatic. Despite sharing two founding members of Grails (multi-instrumentalists Emil Amos and Alex Hall) Fantasy World only peripherally resembles their core group. Its most somber tracks, such as “Dr. Why” and “Last Frontier,” approach the morbid loneliness of the beloved Grails series, Black Tar Prophecies. But Lilacs & Champagne have exaggerated their early record's implications and accelerated their mercurial rearranging of music history by deftly incorporating live instrumentation and samples with equal amounts of deference and disregard. Previously existing primarily in a realm adjacent to instrumental hip-hop (J Dilla, Clams Casino, Madlib), Fantasy World exposes Lilacs & Champagne’s deeper lineage as playful tape-collage culture jammers in the vein of legendary sound satirists, Negativland and Severed Heads. It embraces the effect of a child entering a dollar store: the immediate euphoria felt upon discovering the seemingly endless aisles piled impossibly high with novelty toys, utensils, party decorations, and toiletries eventually gives way to the overwhelming realization that they’re actually just a tourist in a perilous mountain of colorful garbage. From those mountains, Lilacs & Champagne mold monuments to curiosity and confusion.

The 2015 edition of Winnipeg’s send + receive festival, focussed on rhythm, turned out to be a generative meeting of minds. There, Mark Fell encountered the music of Will Guthrie, a meeting that was eventually to result in the frenetic acoustic drumkit and digital synthesis pairing heard on Infoldings and Diffractions (2020). At the same festival, Limpe Fuchs first heard and appreciated the music of Mark Fell, planting the seed of a collaboration that came to fruition when Fell (along with his son Rian Treanor) visited Fuchs at her home in Peterskirchen, Germany in September 2022. Black Truffle is pleased to announce the release of the results of this extensive session in the audacious form of a triple LP, housing over two hours of music across its six sides. The collaboration might appear unlikely: what common ground could exist between Fuchs, classically trained pianist, legend of improvised music, instrument builder and sound sculptor active since the 1960s, whose group Anima Sound connected the dots between free jazz, krautrock and ritual, and Fell, proponent of radical computer music, known for his bracingly austere productions that twist remnants of club music into algorithmic stutters? For all their seeming disparity in technology, approach and background, the music on Dessogia/Queetch/Fauch makes it immediately evident the pair share a great deal in their essentially percussive approach and ability to, in Fuch’s phrase, ‘establish silence’. Recording at her home studio, Fuchs had the use of her entire array of instruments, found, invented, and traditional, and treats the listener to some that don’t often make their way to concerts, including extensive passages performed (with Gundis Stalleicher) on pieces of wooden parquetry. Alongside metallic, wooden and skin percussion of all kinds, sounded and struck in every conceivable way, we also hear bamboo flute, viola, and Fuchs’ distinctive free-form vocalisations. Fell also stretched himself, with his contributions ranging from characteristically fizzing pitched percussive pops to swarms of sliding tones and abstract digital noise. Showing both remarkable restraint and improvisational freedom, much of the music consists of duets between a single percussion instrument and a distinctive mode of digital sound, often lingering in one timbral-rhythmic space for minutes at a time. Improvisational forward momentum coexists with a free-floating, wandering quality. On opener ‘Dessogia I’, the shimmering almost-gilssandi tones of Fuchs’ enormous set of microtonally tuned metal tubes ripples across Fell’s rubbery pulse, which moves up the frequency spectrum as Fuchs becomes more animated and switches to horn. At some points, as on the metallic chiming tones that open ‘Fauch I’, only the unexpected dynamic behaviour of Fell’s sounds distinguish them from Fuchs’ acoustic instruments. At others, like on ‘Queetch III’, the waves of sliding tones and noise textures are bracingly synthetic, joined by piercing squeaks and scrapes from Fuchs’ metal objects. Epic in scope, immersing the listener in an entirely distinctive world of sounds, and thrillingly bold in its melding of the most ancient musical procedures with cutting edge technologies, Dessogia/Queetch/Fauch is an unexpected major statement from two of the great mavericks of contemporary music.