Ambient / Minimal / Drone

1985 was one of the most important years in Brazil's recent history, when the country was freed from more than 20 years of military dictatorship. The youth took the lead and finally Brazil entered the world show business circuit with Rock In Rio festival. But the real revolution was happening in the underground and this record is a proof of that.
One of the people in charge was the musician, composer, poet, writer, scriptwriter and speaker from Rio de Janeiro Ronaldo Tapajós, who was always involved with experimental and avant-garde music. His trajectory begins in the mythical 1968, when, as part of the the duo Rô and Carlinhos, he released an emblematic single containing the song “O Gigante” - perhaps the first Brazilian bad trip recorded on vinyl and a shrewd criticism of the society's “square” habits.

Cinema was an experimental and avant-garde piece released in early 1985. In many ways it’s an example of the new Brazil that was reborning after 21 years of darkness under Military Dictatorship. Musically, it was a pioneer album for Brazilian music, mixing acoustic and synthetic sounds.
This rare adventure in Brazilian music was released independently in 1985, financed by the artists themselves. The original small press sold-out, belonging now to record collectors around the planet. For the first time Cinema is re-released on vinyl, with two extra and unreleased tracks found after decades.
Remastered from the original tapes, this reissue includes reproduction of the original graphic art, new testimonials from the four members of the project and a long article signed by Bento Araujo, author of the book series Lindo Sonho Delirante, which investigates audacious and fearless music created in the Brazilian underground.
According to Cinema’s LP press release: “in the era of visual music, Cinema is sound”. In terms of sound, listening to this album feels like diving into an intriguing anguish of trying to understand how the relationship between technology available at that time (1983-1984) and the more organic instruments happened, this duality between synthesizers/effects with percussion, woodwind instruments, piano and clarinet. In other words: how was the coexistence between the synthetic and the acoustic? This paradox seems to seduce collectors, DJs and enthusiasts of Brazilian music from the 80's around the world.
This fictional soundtrack has a dark mood, as if a fog of dark and ambient music insisted on staying on top of cheerful patterns of Afro-Brazilian percussion, or conceptual synth pop.

Music and Poetry of the Kesh is the documentation of an invented Pacific Coast peoples from a far distant time, and the soundtrack of famed science fiction author, Ursula K. Le Guin’s Always Coming Home. In the novel, the story of Stone Telling, a young woman of the Kesh, is woven within a larger anthropological folklore and fantasy.

The ways of the Kesh were originally presented in 1985 as a five hundred plus page book accompanied with illustrations of instruments and tools, maps, a glossary of terms, recipes, poems, an alphabet (Le Guin’s conlang, so she could write non-English lyrics), and with early editions, a cassette of “field recordings” and indigenous song. Le Guin wanted to hear the people she’d imagined; she embarked on an elaborate process with her friend Todd Barton to invoke their spirit and tradition.

For Music and Poetry of the Kesh, the words and lyrics are attributed to Le Guin as composed by Barton, an Oregon-based musician, composer and Buchla synthesist (the two worked together previously on public radio projects). But the cassette notes credit the sounds and voices to the world of the Kesh, making origins ambiguous. For instance, “The River Song” description reads, “The prominent rhythm instrument is the doubure binga, a set of nine brass bowls struck with cloth-covered wooden mallets, here played by Ready.”

According to writer and long-time friend of LeGuin, Moe Bowstern (who pens the liners for the Freedom To Spend edition of Kesh), Barton built and then taught himself to play several instruments of Le Guin’s design, among them “the seven-foot horn known to the Kesh as the Houmbúta and the Wéosai Medoud Teyahi bone flute.” Barton’s crafting of original instruments lends an other-worldly texture to the recordings of the Kesh, not unlike fellow builders Bobby Brown and Lonnie Holley. Bowstern notes, “Other musician / makers have crafted their own Kesh instruments after encountering the earlier cassette recordings that accompanied some editions of the book.”

Both Barton and Le Guin are sensitive to the sovereignty of indigenous Californians and were careful not to trample the traditions of the Tolowa people who lived in the valley long before the Kesh. “You research deeply, and then you bring your own voice to the table,” said Barton. Within the Kesh culture, the numbers four and five shape the lives, society and rituals. Barton composed loosely around these numbers, patiently listening to the land of Napa Valley for signs and audio signals from the natural elements. Todd incorporated ambient sounds of the creek by Le Guin’s house and a campfire they built together.

The songs of Kesh are joyful, soothing and meditative, while the instrumental works drift far past the imaginary lands. “Heron Dance” is an uplifting first track, featuring a Wéosai Medoud Teyahi (made from a deer or lamb thigh bone with a cattail reed) and the great Houmbúta (used for theatre and ceremony). “A Music of the Eighth House” sends gossamer waves of the faintest sounds to “float on the wind.” Like the languages invented in the vocal work of Anna Homler, Meredith Monk, and Elizabeth Fraser, the Kesh songs and poems play with the shape of voice.

The Music and Poetry of the Kesh cassette was meant to accompany and enhance the experience of reading Always Coming Home. Presented in this edition as a long-playing album, where only traces of the book linger (the jacket offers some of Le Guin’s illustration, and a letterpressed bookmark featuring the the narrative modes of western civilization and the Kesh valley is included), the music alone breaking the silence of what might be. It can transport—offering a landscape for imagining a future homecoming. One in which we are balanced, peaceful, and tend to the earth and its creatures.

A line from “Sun Dance Poem” reminds us, “We are nothing much without one another.” Freedom To Spend gives new life to the recordings of the Kesh people in the first ever vinyl edition of Music and Poetry of the Kesh also availably on digital formats on March 23, 2018. The LP will include a spot printed jacket with Ursula’s illustrations from Always Coming Home, a facsimile of the original lyric sheet, liner notes by Moe Bowstern, a multi-format digital download code and a bookmark letter pressed by Stumptown Printers in Portland, OR.

First edition limited to 1,000 copies.

Melody As Truth is proud to announce “Melodies In The Sand”, a collection of works from Czech artists Irena and Vojtěch Havlovi. The husband-and-wife duo began working together in the mid 80’s as part of experimental ensemble Capella Antiqua e Moderna, a unique association of musicians whose repertoire spanned various styles of European classical music. With an inventive and unorthodox approach to both historical and modern compositional techniques and interpretive procedures, the Havel’s have steadfastly developed a unique and musically autonomous language which continues to expand to this day. Spanning their early work in Capella Antique e Moderna to recent pieces recorded for Viola De Gamba, ‘Melodies In The Sand’ is presented to the listener with the simple aim of shining a light on these incredible musicians. Their work has within it the ability to penetrate and enrich the innermost corners of a perceptive human soul, a gift which they share with sincerity and humbleness.

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

Recommended for fans of Ellen Arkbro, Maria W Horn and Kali Malone! The long-awaited recurrence of the demon rare work, which seems to be almost impossible to obtain the original cassette. Ellen Fullman is a female composer known for her self-made instrument "Long String Instrument", which is played by rubbing and playing with a bunch of terrifyingly long strings over 15m on both ends. Inspired by composer / creative self-made musical instrument master Harry Partch, he has nurtured an overwhelming drone / minimalistic different world. The first analog reproduction from Superior Viaduct>.

In 2015, a super important release arrived following the masterpiece "The Long String Instrument" that was reissued from the same label. In addition to the sound source of the cassette of the same name recorded at the unfinished office tower in Austin, Texas in 1987, an extended reissue specification that additionally recorded unreleased songs left in the sacred place of Dutch underground music . If you lower the needle, it will fly to the heavens in an instant. Recommended for all minimalism enthusiasts, including Pauline Oliveros, La Monte Young and Harry Bertoia.

Jon Hassell, a genius who just released a remastered version of the famous experimental music history "Vernal Equinox" in March of this year as a memorable debut work, "Listening To Pictures (Pentimento Volume One)" The latest work, "Seeing Through Sound (Pentimento Volume Two)" has been released!

"Pentimento" means "in a painting, the original image, format, and brush flow that has been modified or overlaid reappear." The term accurately describes his innovative style of "painting", creating a new, indescribable, addictive palette by layering subtle differences.
Given the traditional Hassel, this title can be interpreted in many ways. But perhaps the most plausible interpretation at this point is the human instinct to sing and have fun in the face of repeated difficulties. It's the future blues that sang uncertainties and ever-changing shapes. On this album, Hassel is once again adventuring to create new forms and variants of music, incorporating elements of the "fourth world" of the past. It's a thrilling window-like work where you can see what the world's music will be like in the future.

"Jon Hassell is the most influential composer of the last 50 years. His invention, called'Fourth World Music', gives a deep respect to the music of different cultures around the world. He paved the way. His work had a great influence on other artists, through which his musical tastes changed dramatically. His unique intellectual contribution is also noteworthy. He is a patient and eloquent theorist and a great musician. "-Brian Eno

Jon Hassell's greatness in contemporary music history is comparable to Miles Davis, Jimi Hendrix, James Brown, or The Velvet Underground. --The Wire Magazine

A year before the groundbreaking debut album "Stratosphere" by Duster, one of the most famous US slowcore bands of the 90's, the members of Duster formed a little-known band called "Valium Aggelein". Valium Aggelein" is a band that is even less known than Duster, with only two albums left. The album includes 16 tracks from the original cassettes and LPs, which are now very hard to find, remixed and remastered from the analog tapes, as well as unreleased tracks & outtakes and other gorgeous bonus tracks. This is a golden collection of work from the forerunner of the most important slowcore band of all time, hidden in a surprisingly obvious place.

On this seven track album we hear MinaeMinae (alias Bastian Epple) playfully scurry through his dense soundscapes on a tightrope. The sounds lying somewhere on the crossroads of psychedelic trance, exotica, ambient and melodic dance music – veering further off orbit with nontypical rhythms and dystopian percussive patterns.

MinaeMinae understands musical material similar to documentary footage which he would cut up, repitch, and rearrange freely. Most of his tracks are a mix of analog, synthetic sounds and recordings of ethnic percussion and guitar. Recently Bastian began experimenting with modular synthesis and self made tape echoes - seeking a more reduced and minimal composition style compared to his earlier quite whimsical tunes.

Growing up in a small village in southern Germany, Bastian was never interested in kitschy folk sounds that everyone would mindlessly clap and sing along to, rather he took solace in the time he would spend delving into patterns and repetitions that pleased him. His guitar strumming and what sounded to his mother like a young Philip Glass on a cheap Casio keyboard encouraged little Epple to continue on this self-taught path of developing his musical language. He then started to experiment with a tape recorder and layering sounds with non-musical samples, which his former village friends found too weird – then to eventually working with a small freeware DAW. Bastian went on to study Media Art at the Center for Art and Media (ZKM) in Karlsruhe – initially enrolled in music but the frustration and doubt of not being able to produce the music he wanted led him into film and documentary media. During his studies, Bastian was living with Florian Meyers (Don’t DJ) for several years where they would philosophize life and music into the wee hours – he encouraged Bastian to start sharing what he’s been quietly working on all these years and slowly emerge from this anonymity which eventually led to his first release on Human Pitch last fall.

Disproportionate forms, color changes, backdrops weaved into the foreground, all lay the dense earth for Gestrüpp through Benjamin Kilchhofer’s artwork.

Co-produced with Carlos Niño and scoring a 7.5 on Pitchfork, Jamael Dean is a prodigious 20-year-old jazz pianist and producer who has collaborated and performed with Kamasi Washington, Thundercat and Carlos Niño. Jamael Dean's debut album is out now on the prestigious Stones Throw label. Influenced by his grandfather, the legendary soul-jazz drummer Donald Dean, as well as Sun Ra, Alice Coltrane, and Herbie Hancock, Dean is one of the most sought-after artists of the new generation. From the ethereal horn section, to the kaleidoscopic piano, to the chill-out microcosmic collage of sound, the vibes are tremendous. A chaotic cosmic soul-jazz masterpiece that mixes beat music, hip-hop, ambient and electronica. This is a masterpiece of chaotic cosmic soul jazz that mixes contemporary jazz, beat music, and experimental music, reaching out to listeners of many genres!

David Shea¡Çs The Thousand Buddha Caves explores his deep and continuous interest in the nexus of eastern and west- ern musical forms. The recording charts his life long fascination with the caves and their connection to sound, ritual and Buddhist teachings. The record transposes those interests and is an evocation to the mythologies spinning forth from the caves.

Henry Flynt took a high-brow approach to so-called low-brow music. Combining sounds from his native North Carolina with an avant-garde sensibility honed in New York City's loft scene in the 1960s, Flynt created what he describes as "new American ethnic music." As a student of Hindustani singer Pandit Pran Nath alongside La Monte Young and Terry Riley, an associate of the Fluxus movement, and even a live collaborator with The Velvet Underground, Flynt was a part of one of the 20th century's richest art and music milieus. Graduation, recorded between 1975 and 1979, was meant to be the debut of his avant-garde hillbilly music. The album's title track is a slow, twisted ballad that unfolds like a funeral dream over dirge-like country riffs. "Celestial Power," the album's 20-minute closing track, is an entrancing minimalist composition performed strictly with oscillating vibrato guitar. As Flynt explains, "I aspire to a beauty which is ecstatic and perpetual, while at the same time being concretely human and emotionally profound." Shelved upon its completion in 1980, Graduation was not released until after the turn of the century. In 2013, it still sounds years ahead of its time.

¡ÈIn today¡Çs world, it¡Çs harder than ever to let go & find sleep. So kick back and let this pastel soundscape from the NYC synth rocker, TM™ ¢ö drift you off to dreamland like it was 1984...¡É -Tommy Mandel "New York synth magician Tommy Mandel has an astonishing career as a composer, sideman, and electronic pop artist. Since the late 1970s, he has toured or recorded with a laundry list of talents including Todd Rundgren, The Clash, The B-52s, Tina Turner, Cyndi Lauper, and countless others. Yet it is Mandel¡Çs solo pioneering keyboard work that has captured the attention of Invisible City, first documented on the Mello Magic compilation of his largely unreleased new wave explorations. Now, the label follows it up with an even more scarcely heard project, working in cooperation with Mandel to reissue his 1984 private press cassette, Music For Insomniacs. Recorded on four-track, each of the album¡Çs eight songs is inspired by a wave of sleep from Alpha to Theta. Its playfully psychedelic sound features shimmering synths, baked electronics, soft drum machines, and various vocal treatments guiding listeners into a peaceful slumber. Yet Mandel can¡Çt resist adding traces of abstracted boogie-funk with propulsive rhythms that will keep you dancing through your dreams. Fans of Mort Garson, Woo, Brian Bennett, Angelo Badalamenti, Klaus Schonning and Bruce Haack will rejoice at their new sleepy time soundtrack." - Jesse Locke Available on vinyl for the first time with newly remastered audio baked from 2 inch tape with new artwork by Marko Vuleta-Djukanov (floating_bstrd). Reissue in partnership with Tommy Mandel. Also available on limited release cassette.

Black Truffle¡Çs documentation of the prolific recent work of legendary American composer Alvin Lucier continues with Works for the Ever Present Orchestra. This is a very special release for the composer, as it presents pieces written for the thirteen-member Ever Present Orchestra, formed in 2016 exclusively to perform Lucier¡Çs works. At the heart of the ensemble are four electric guitars, an instrument Lucier began composing for in 2013 with Criss-Cross (recorded by two core members of the Ever Present Orchestra, Oren Ambarchi and Stephen O¡ÇMalley, for whom it was composed, on Black Truffle 033). Through the use of e-bows, the guitars take on a role akin to the slow sweep pure wave oscillators heard in many of Lucier¡Çs works since the early 1980s, but with added harmonic richness. Like much of Lucier¡Çs instrumental music, the pieces recorded here focus on acoustic phenomena, especially beating patterns, produced by the interference between closely tuned pitches. The work presented here is some of the richest and most inviting that Lucier has composed. Though all of the pieces clearly belong to the same continuing exploration of the behaviour of sound in physical space and make use of related compositional devices, each takes on a strikingly different character. Titled Arc, for the full ensemble of four guitars, four saxophones, four violins, piano and bowed glockenspiel inhabits a world of sliding, uneasy tones, punctuated by a single piano note. Where Double Helix, for four guitars, rests on a pillow of warm, low hum, EPO-5, for two guitars, saxophone, violin, and glockenspiel possess a limpid, crystalline quality. Accompanying the four new compositions are two adaptations of existing pieces for radically different instrumentation, demonstrating Lucier¡Çs excitement about the new possibilities suggested by this dedicated ensemble. Works for the Ever Present Orchestra is an essential document of the current state of Lucier¡Çs continuing exploration, as well as offering a seductive entry-point for anyone who might yet be unacquainted with his singular body of work. Presented in a deluxe gatefold sleeve with cover artwork and liner notes from Alvin Lucier. Includes a download code featuring hi-res vesions of the LP material. The download code also includes the bonus Adaptions for the Ever Present Orchestra featuring two pieces (¡ÈTwo Circles¡É and ¡ÈBraid¡É) that are not included on the LP version. Mastered by Rashad Becker. Design by Lasse Marhaug.

Jon Gibson, a rare minimalist who has been listed in the 2nd work "Two Solo Pieces", Steve Reich, Terry Riley, and La Monte Young. The 1973 memorable 1st album is finally reissued on LP !! Side A, which contains flutes, cymbals, and organic repetitions of shining bells, side B, where the inflection of electronic sounds leads to the forest, along with the flow of rivers and environmental sounds. Both are extremely minimal. Beautiful to Avant. It is a supreme masterpiece that is drawn into the depths of consciousness.

Also active as a member of The Necks, an Australian minimal / jazz ensemble that has pursued solitary improvisation sounds for over 30 years, works from numerous experimental labels including and . Chris Abrahams, an electro-acoustic writer / pianist who has released the latest solo work for the first time in four years, has been released from Lawrence English's electronic acoustic sacred place ! This is the first work released from the same label that mainly focuses on the piano, and was recorded by Phil Punch at in 19 years. A piano solo feature film that makes you feel the annual rings, as if the sentimental emotions that you remember in the changing seasons live together in the warm sound that makes you feel the arrival of secret spring. It's definitely a must-have for anyone who likes the world of Gigi Masin "Venezia 2016" and The Necks "Unfold".

Originally released by Sonnabend Gallery in NY in 1974, Charlemagne Palestine's most masterpiece and extremely rare work is a famous masterpiece. A historic masterpiece that begins with the ecstatic meditative organ drone "Two Fiftsh" that lasts about 19 minutes, and the tremolo playing method of the piano echoes endlessly and beautifully. With the remastered specifications released in 2015, the sound quality has been further improved.

約50分に及ぶ4つの未発音源も追加収録！吉村弘、高田みどり、イノヤマランドにも並ぶ国産ニューエイジ/アンビエント最大級の再発案件が到来です！日本が誇る孤高のアンビエント作家、広瀬豊がそのカタログ2としてMisawa Homeレーベルに残した1986年の唯一作が、高田みどり、Colored Music、Normal Brainと日本の音楽秘境も発掘してきたスイス発の最重要再発レーベル、We Release Whatever The Fuck We Want から拡張版となって初となる公式CD/ヴァイナル・リイシュー！元々は、1986年から1988年にかけて、ミサワホームのプレハブ住宅のための『Soundscape』シリーズの一環としてリリースされるも、昨今のニューエイジ再評価の流れで一気に高騰・入手困難と化していた一大傑作！静謐なミニマリズムが呼吸をし、水や虫、鳥などの声のフィールド・レコーディングやまばらなベルの音、ピアノ、シンセサイザーなどが用いられ、大自然の原風景をも思い起こすような神秘的なアンビエント・サウンドを描き出した伝説の一枚。母体回帰のような類い稀なる美しさを秘めた作品です。本人によると「いわば、音楽というよりは、音の彫刻」であるという、インスタレーション用に製作された50分に及ぶ当時の未発表音源も追加収録。デラックス・ゲートフォールド・スリーヴ仕様。本人によるライナーノーツが日本語&英語で記載されています。これが数年前まではレコ屋やリサイクルショップで投げ売りされていたと言うんだからとんでもないことです。

Familiar with Moog's minimal drone work, analog&An American composer who has released his own line of electronic music with a special playing method that mixes digital musical instrument composition./Videographer,Richard Lainhart (1953-2011)。John CageorDavid Tudor、Phill Niblock、David BehrmanHe has also worked with great people such asNYA great sanctuary of contemporary music [Experimental Intermedia Foundation] Under the umbrella [XI Records] Left in2001Yearly work, stocked!! This music that resonates forever is a terrifying depth.1975From the year1989Summarized works up to the year2Disc set masterpieceCD.. The technique of processing Tam Tam, Japanese temple bells, vibraphones, voices, etc. with a bow-playing multi-track recorderAndrew ChalkIt is reminiscent of the work of, but the sound is alsoOrganumI used the period and the guitarAndrew ChalkEcstatic meditative drone that is quite close to the work of(Disc 2teethAeolian String EnsembleIs also like).. An amazing gem that I would like people who listen to drones to listen to!

The popular ambient project by Wolfgang Voigt, presided over by the prestigious , GAS released the early masterpiece "Königsforst" in 1998 from the prestigious on CD! It's a tremendous depth. It's like William Basinski meets DUB TECHNO ... A masterpiece with a mysterious dopeness that makes you feel like something you don't even know is writhing in the darkness of your heart, and it's about to crawl up. Dub / Ambient. It is a masterpiece that has reached a terrifying and solitary view of the universe!

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.

The early masterpiece of 1997 released by GAS, a popular ambient project by Wolfgang Voigt, who presides over the prestigious , is reissued on CD! This is terrifying, like William Basinski meets DUB TECHNO ... A masterpiece dub / ambient with a miasma-like dopeness that blows up from the depths and envelops the sound field. It is a masterpiece that shows off a solitary view of the universe!

Minima, who has joined the group "Permanent Music Theater" established by La Monte Young in New York at the end of the 1960s, which has a history of music as the birthplace of minimal-drone music, with John Cale and Angus MacLise, and continues to work as a filmmaker. Liszt, 1973 legendary collaboration masterpiece rare edition with Tony Conrad and Krautrock legend Faust !!!

When Tony Conrad visited Germany in 1972, he met the avant-garde rock band'Faust'created by the country, and this session was realized.
It seems that Tony Conrad had instructed the drummer to "keep the beat unchanged", but the drums with the shamanic and rock dynamism that the number of notes was cut off to the limit are exactly the same. Oriental and trancey violin drones that are directly related to the "Permanent Music Theater" intersect endlessly minimally. In each of Avant-Rock-Indian music, only the most psychedelic elements meet at the atomic level, and the extreme content seems to have been transformed from the existing music composition. Carefully mastered from the original master tape, Jim O'Rourke is in charge of the liner notes.

Meditations super strong recommendation board! The jacket artwork is a 2017 piano solo work by French pianist / composer Melaine Dalibert from elsewhere, a new label launched by Yuko Zama, who is also involved in the management of David Sylvian (!) Erstwhile Records and Gravity Wave. Imposing release! This work is inspired by the work of French media artist Vera Molnar from Hungary, and is inspired by the transition of natural phenomena. Dalibert developed an algorithmic procedure for the composition of this piece. A meditative, layered piece of resonant music by Morton Feldman's mode. A delicate touch that makes you feel ephemeral and powerful, it is finished as a pretty and beautiful piano solo masterpiece that blends well with the clear air of this season. This pure sound just sinks ... Taku Unami is in charge of mastering! Limited to 500 sheets. For those who like Gigi Masin and Satsuki Shibano! It is one of the big, big, big, big, big recommended for all music lovers!

"Singing in Unison" is the latest in a series of recordings from acclaimed sound artist, composer and performer Yoshi Wada. Recorded live over two nights, March 14 and 15, in 1978, at New York City's legendary performance space The Kitchen, "Singing in Unison" is a dramatic yet meditative work: modal improvisations for three male voices, singing, with great gravitas, in purposeful unison. These previously unreleased recordings, featuring vocalists Richard Hayman, Imani Smith and Wada himself are extremely powerful, with a glacial majesty and a sense of timeless wonder. Wada's earliest musical memories are of hearing Zen Buddhist ritual chants in his native Japan, and those memories are reflected in the deep vocalisations here; also evident is Wada's period of intense study with Indian master singer Pandit Pran Nath. Thus there is a definite "Eastern" feeling to "Singing in Unison", with further elements added by Imani Smith's Sufi background and Wada's interest in Eastern European vocal styles, but the music is also informed by Wada's experiences in the Fluxus movement and as a member of the New York avant-garde community. The edgy atmosphere of 1970s New York City pervades these recordings, adding a hint of menace. Despite the fact that this is purely vocal music, fans of the slow-moving heaviosity of Sunn 0))) will appreciate "Singing in Unison". Yoshi Wada has four previous releases on EM Records: "Lament for the Rise and Fall of Elephantine Crocodile" [EM1074CD]; "The Appointed Cloud" [EM1076D]; "Off the Wall" [EM1078CD]; and "Earth Horns with Electronic Drone" [EM1081CD]. "Singing in Unison" is available in two formats: a single CD of the March 15 performance, with gatefold sleeve; or a triple LP set featuring a complete version of both performances, March 14 and 15.