Avant-Garde / Contemporary

Liner notes by Mats Gustafsson: Alone at night. Large church room. Lots of air. Stone. Wood. Glass. Quietness. Stillness. The dead and the alive. Surroundedness. Existentialistic matters spinning. Peaceful state of mind. The dialectic equilibrium of complete stillness and deeper thoughts on contra- resistance on local and global levels. Fighting (y)our stupidities. Contra. I have never ever before gotten myself into such an unusual setting for a recording project. And yet, so simple. So naked. So peaceful. Alone at night. As we all are. I borrowed the keys to the beautiful church of Gustafsberg, from my neighbor Rune. I went there at midnight. Set up my recording gear. Old school DAT machine, tube pre-amps and two AKG 414s in an extreme stereo set-up, close to the horn. The horn of choice. The contrabass sax. The monstrous sax-machine “Tubax” made by the German engineer Benedikt Eppelsheim at the turn of the century. I sat down in the first row of benches. Breathing. Preparing. Contemplating. The saxophone positioned in the very middle of the church, close to the altar. More than 6 hours straight of low-end sax noise and many breaks later: the sun set. At around 7 am… I was done. I was alone the whole night. And yet, not all alone. Some things were going on in that church. In that room. I kid you not. Never audible. But strongly felt. Whatever presence of the old or new gods - old and new dreams - it effected the music and my mind. I let it happen. I let it all flow. Alone at night. There is nothing to explain. -Mats Gustafsson 2003/ 2021

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.

Luc Ferrari, a master who continues to influence and be evaluated. Held at the Palais Galliera in Paris in 1975, an unreleased work with four soundtracks designed for multimedia / audiovisual performances is now available in 2LP. It is a multimedia work that spans four rooms, each with the theme of Power / Profit / Violence / Pollution. Gatefold sleeve specifications. Limited edition of 500 copies from .

All music written & produced by Belacqua
Mastered by The Bastard

Artwork by DD & DMG

Published by wherethetimegoes
Catalog No. WTTG010

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.

Recent years have seen the release and reissue of dozens of hours of Roland Kayn’s music, on several labels and in both physical and digital formats. Our interconnected yet chaotically imbued age seems to be the setting in which Kayn has truly found his audience. The scene is now set for one of the most momentous works in his oeuvre to return to the shelves. ‘Infra'. One of the titanic cybernetic works Kayn originally released on the Colosseum label in early 80s, ‘Infra’ (1978-79) has come to occupy a very special place in the hearts of fans lucky enough to have copies of the original vinyl box sets. Now lovingly remastered from the original archive masters by Kayn devotee Jim O’Rourke, ‘Infra’ has finally found its way to CD for a new generation of admirers to discover.

Available on vinyl for the very first time: “The Trance Of Seven Colors” by master Gnawa musician MALEEM MAHMOUD GHANIA and free jazz legend PHAROAH SANDERS. Produced by BILL LASWELL and according to The Attic “one of the most important albums of Gnawa trance music released in the ‘90s”. 

Originally released in 1994 on BILL LASWELL’s AXIOM imprint, “The Trance Of Seven Colors” is the meeting of two true musical masters: MALEEM MAHMOUD GHANIA (1951 – 2015), son of the master of Gnawa music MALEEM BOUBKER GHANIA and the famous clairvoyant and "moqaddema" A'ISHA QABRAL, and a master of the traditional Gnawa style in his own right. MAHMOUD learned this craft as a youth along with his brothers, walking from village to village, performing ceremonies with his father BOUBKER and was one of the few masters (Maleem) who continued to practice the Gnawa tradition strictly for healing (the central ritual of the Gnawa is the trance music ceremony – with the purpose of healing or purification of the participants). With 30 cassette releases of music from the Gnawa repertoire with his own ensemble and performances at every major festival in Morocco, including performing for the King in various contexts, MAHMOUD GHANIA was also one of Morocco's most prominent professional musicians. 
In 1994, BILL LASWELL and PHAROAH SANDERS went to Mocrocco, equipped with just some mobile recording devices, to record GHANIA and a large ensemble of musicians (to a good part family members) in a very intimate set up at a private house with the legendary free jazz musician contributing his distinctive tenor saxophone sounds that gained him highest praise as a truely spiritual soul right from the days of playing with JOHN COLTRANE and his wife ALICE and on seminal solo albums like „Karma“. 
The aptly titled „The Trance of Seven Colors“ ranks among the best Gnawa recordings ever released , made it onto the list of “10 incredible percussive albums from around the world” by Thevinylfactory.com and is 25 years after its original CD release on finally available on vinyl! 

Shirk is the new AOR flavored free improvisation solo album by Sam Shalabi featuring Eric Chenaux and Nadah El-Shazly where Synth Pop and Sound Poetry fester. Sam Shalabi is an Egyptian-Canadian composer, improviser and guitarist living between Montreal and Cairo. Starting out during the late 70s punk era, his work has evolved into an experimental synthesis of modern Arabic Music that incorporates free improvisation, traditional Arabic music, noise, classical, text, and jazz. Other than his numerous solo albums, he is a founding member of Shalabi Effect, a free improvisation quartet that bridges western psychedelic music and Arabic Maqam. He has also released four albums with Land Of Kush, the experimental 30-member orchestra which he directs. He has appeared on over 30 albums and toured Europe, North America and North Africa.

Modern Love debut from Delia Beatriz aka Debit; a study of Mayan wind instruments from the late post classical period, rebuilt as synth instruments and deployed with ultimate heft and wooooze. Delia Beatriz’s musical output straddles two distinct artistic poles; her debut solo album, 2017’s acclaimed “Animus”, oozed from sensual, beatless soundscapes to high-octane club music, while her 2019-released 'System' harnessed tribal guarachero elements while simultaneously scraping ideas from industrial techno. On 'The Long Count', the Mexican-American producer has inked her most rigorous statement to date, sublimating opaque ancestral knowledge into vaporous AI-stirred fog banks, activating an ancient rite that reaches into tomorrow. It’s audacious electro-acoustic archaeology that sounds disorientating, anachronistic and arcane. 'The Long Count' is rooted in research Beatriz made into Mayan wind instruments - whistles, ocarinas, flutes and trumpets - using the archive of the Mayan Studies Institute at the Universidad Nacional Autonoma de Mexico, the oldest and largest collection of its kind. Developing a set of digital instruments that could be played using different types of temperaments and scales, Delia processed these sounds using machine learning techniques to shuttle the distant past into our extant artistic universe, peering into Mexico’s pre-colonial history and weaving those ideas into complex tonalities gleaned from musique concrète and contemporary electro-acoustic music. Beatriz describes the Mayan instrumentation as ancestral technology, part of a world that’s not so much been forgotten, but purposefully erased. And although it’s impossible to know exactly how Mayan music may have sounded, it’s feasible to converse with history using modern technology to conduct a ceremony of remembrance. Featuring soundscapes that are haunted by indistinct, shared memories and centuries of pent-up emotion, the material here is as intentional, direct and meticulously crafted as the work of Deathprod or Thomas Köner; Debit's microtonal compositions are psychedelic to their core, shapeshifting through dimensions and painting complex mental images while retaining a stylistic focus and lucidity that’s all too rare. Although 'The Long Count' was nurtured by machines, human experience is coded into its DNA - an ancient-future heirloom that whispers through countless generations. File under: magick concrète.

You will be swallowed by the beauty, depth, and sharpness of the "over there" side. Kali Malone, a female minimalist living in Stockholm, Sweden, who is familiar with our big and big bestseller "The Sacrificial Code" and produces extremely excellent drone / experimental works from the depths of the current underground such as and The extremely rare debut work left in 2017 is jointly reissued by and ! The original was privately pressed as a numbered record with only a limited number of 100 copies, and it is a very popular work that has also added over $300 in the marketplace, and it is a miracle reprint! Works composed, recorded and produced in Stockholm from 2015 to 2016. R1 Reaktorhallen (Sweden's first nuclear reactor), electroacoustic studio EMS, and a unique hardcore minimalist made with strings, gongs, lutes, electronics, tape, etc. at various locations such as the Royal College of Music in Stockholm. / Noise Drone Masterpiece! Limited to 1000 copies.

Michel Banabila is an indispensable part of the Dutch experimental music scene, where he has acquired a special place with many, in the 40 years that he has been releasing music. Michel is also just as active as a composer for the theater and ballet world, as well as for TV productions, to considerable fame. The threat of drowning in the sea of his oeuvre is real in view of the unprecedented amount of output, but once sailing unmissable monolithic rock formations loom up rapidly. Echo Transformations' is one of them. It's a magical album, where everything falls into place in a rich domain inspired by the Fourth World dimension. A world of sound arises from our imagination, stimulating the senses. A concept album where every sigh has its place and where no superfluous tone can be heard. What remains is to embrace the inevitable surrender that accompanies unstoppable change. This is Banabila at his best.

Diseñar y destruir [Design and Destroy] is the second album by Varsovia, an electronic punk project created in Lima at the beginning of 2012 by Dante Gonzales (synthesizers), Fernando Pinzás (synthesizers) and Sheri Corleone (guitar, vocals). Unlike their celebrated debut album Recursos inhumanos [Inhuman Resources] (2014), this new production reflects a greater influence of styles such as industrial music and EBM, but maintaining the sound of analog synthesizers as a principle. The lyrics follow a concept based on the period of violence that Peru experienced in the 1980s, with samples of General Juan Velasco Alvarado and songs that refer to situations such as blackouts, bombings of terrorist groups, and the uncertainty of living in the midst of the armed conflict in a city lost in chaos. The songs of Diseñar y destruir were recorded between 2015 and 2017, and finished during 2021. This process was marked by the exit of Corleone (when she moved to the Netherlands) and the entry of Carla Vallenas as lead singer, with whom the first version of the album was recorded and a promotional video was released. During this period, the band shared the stage with important artists such as She Past Away, Sixth June, Ash Code, Mueran Humanos or the legendary group of the 60s, Silver Apples. After a few years of activity, Carla Vallenas left the band, and both Dante Gonzales and Fernando Pinzás went on to work on different personal projects. Until 2021, when, after a brief activity of Varsovia as a duo, they decided to re-record the album with Sheri Corleone on vocals and guitar, marking the return to the original formation of the group. Varsovia has gathered great international attention in recent years thanks to the inclusion of a song from its first album in the soundtrack of the HBO series Los Espookys. The band was again invited to include a new song in the second season of the series, which premiered during 2022. Diseñar y destruir is published by Buh Records in vinyl format in an edition of 500 copies and includes guest musicians such as Mexican saxophonist Martín Escalante and guitarist Óscar Reátegui of the legendary band Dios Hastío. It was recorded and mixed at Paraíso del Silicio by Dante Gonzales, and mastered by Alberto Cendra at Garden Lab Audio. Cover art by About Studio.

From Pacific City Discs, to you the listener, this summer, a DJ mix of fantasy and splash-energy is coming to you in a small edition of vinyl. Fantasy writer/recording artist, Francesco Cavaliere, while visiting his seaside childhood vacation location, was extended an impromptu invitation, to DJ an 80s swimming club. He had this to say about his experience: “I was at Shangri-La and a boy and girl from the bathhouse in silver swimsuits and sand-colored streaks waved me over with a drink and asked me if I would like to DJ the next day during my lesson on the beach at Tana del Pirata! I then and there I laughed but then I accepted (I had nothing at home just my mp3 player and a Nokia with music inside) The next day there was a little wind on the beach and the umbrellas swayed to the left. From the heat they could catch fire, white flames, instead the sea was rough and that wind with very long wrists cheered us up, blowing gaseous clouds in our faces. Perfect for the day ahead. After the first few pieces, I began to see that a group of kids jumped into the adjacent pool trying flips bombs and candle dives. Someone at the bar was playing Altered Beast .. so sipping a drink with ice I imagined DJ werewolf repeating catchy pieces while a kite half cobra half skyscraper inflated above us.” This Impromptu Disc is fresh now, for you to frolic with this summer, while entertaining a daydream in the midst of entering a body of water while witnessing an apparition in the sky.

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album Esperanto, composed for a performance by New York avant-garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, Esperanto is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. Esperanto originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film Merry Christmas Mr. Lawrence (in which he starred alongside David Bowie), Esperanto was a return to Sakamoto's leftfield roots. Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion). Indeed, the album is a fascinating soundscape experimenting with the new sampler technology -- which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time. Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones. One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album Hidari Ude No Yume (WWSCD 033CD/WWSLP 033LP/WWSLP 034LP). "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from Esperanto would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin. A unique album in Ryuichi Sakamoto's rich discography, Esperanto is a groundbreaking work worth rediscovering in its full glory. Original artwork; includes two-page insert with a new introduction by journalist Andy Beta. Audio remastered in Tokyo by Seigen Ono.

This is alga marghen’s third installment of Smegma’s original “Suburban Primitive Avant-folk music” Period (1973-1975) based in Pasadena, featuring three previously unreleased tracks from the deep vault of their home recordings. In the beginning, the Band Smegma had only one rule. No Musicians. Starting from scratch, they took the Road much less traveled. They were inspired by outsider musical artists of the time such as John Cage, Sun Ra, Captain Beefheart, Wild Man Fisher, Art Ensemble Of Chicago, etc. and they recorded every experiment with youthful enthusiasm. Mostly they only succeeded in tormenting their own friends and neighbors (except for the few who joined the band), but somehow they never chose imitation, but stumbles on a path that allowed Past (shamanistic) and Future (space) sounds to lead the way. The titled track gently pulls you in and carries you off with a way-out inner-mind group Jamming/not-Jamming trip, featuring Prepared Piano, Modular Synthesizer, Human Mouth sounds, Pan Pipes, Tabla and Electric Bass Guitar. “Rainy Day Mushroom Pillow” (definitely not the 1960s pop Hit) rips you straight into a high energy New Year's Eve Party Jam, in a romping free jazz style with stream of consciousness vocals and exuberant alto sax solos. Side B starts with Beatnik finger Popping and wild dogs barking from a record player, while breathless flute playing leads you down the rabbit hole of mysterious group vocalizing, including imitating the cry of the wild Tropical Parrots that lived in the palm trees in the front yard of the house in Pasadena that they had lived in. Always out of sync with their own time, 49 years later, these tracks still throb and pulsate Beautifully with their own inner logic.

Henri Chopin also praised. Katalin Ladik, a poet, actress and visual artist based in Budapest, Hungary, who was born in former Yugoslavia (now Novi Sad, Serbia) and now lived in the 1990s. One of the most pioneering artists of our time, who has worked in connection with the feminist problem of Eastern Europe, Ladik's work reflects the personal, social and existing difficulties faced by female artists. Double structures, sexually ambiguous figures, gender-neutralizing elements, etc. appear repeatedly in. From the 1960s to the 1970s, she was also an actress of the Serbian avant-garde theater group . Limited to 300 copies.

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

Roberto Laneri's works always convey a clear artistic certainty: a total composer with an eclectic cultural background. In this latest adventure it seems to propose a kind of weird and curious Exotica music; his Mediterranean ragas release glows and shadows, but the music plays more the plateaus of the Maghreb than the Indus Valley. Like a sorcerer piper, the sax shapes alchemy and hypnotic phrasing become: vague dances of camels, ecstatic progressions of an aboriginal vortex or a mystic arabesque tropicalisms. He doesn't neglect his training as a jazz clarinetist, with gentle and smooth orchestral veins that are decidedly retrò and old-style; remembering the dreamlike compositions of Nino Rota for Fellini's movies. There is no lack of esoteric voices from distant islands, Amazonian soundscapes, or rocking Brazilian moods. Laneri filters hidden traces of different traditions, creating unknown geographical syntheses without borders, furious extrapolations of compositional elements and famous themes misrepresentations. A visionary gaze, but also a good dose of ironic plaesure and fairytale humor. Not surprisingly, the original cover-art of Noura Tafeche does nothing but suggest the idea of a tasty psychedelic fruit-salad.

Coinciding with the release of the compilation "1972-1985 KATEBEGIAK Prog-Rock, Psych-Folk & Jazz-Rock Music from the Basque Country [Compiled by DJ Makala]", in which has been included Amaia Zubiria & Pascal Gaigne's "Itsasoa Laino Dago" song, we've just reissue for the very first time this rare & hard to find cult record of Basque music, released on 1985 by Elkar label. AMAIA ZUBIRIA & PASCAL GAIGNE "EGUN ARGI HARTAN" (ELKAR 1985) After the well-earned "Adarra" prize awarded by San Sebastián city council in 2021, the name of Amaia Zubiria is back on people’s lips, one of the most outstandingly beautiful voices in the history of folk and Basque music in general. In fact, thanks to the albums recorded with Haizea and with Txomin Artola and many other collaborations, she has been a constant presence in a long, fruitful career spanning over 40 years. However, despite this popularity, much of her extensive body of work is unknown or remains almost forgotten, apart from four or ve records and her most popular songs. This is a shame, because her forgotten back catalogue contains many of Amaia’s most moving songs. Among them, as a taster and an invitation to get into her music, we encourage you to listen to the enchanting “Itxasoan Laino Dago”, recorded together with Pascal Gaigne in 1985. A track featuring the electronic sounds created with great care by Pascal and adorned by Michel Doneda’s saxophone, and guided with a magical sophistication by the talented sound engineer from Hendaye, Jean Phocas. It is an impossibly beautiful melt of avant garde and traditional music (Text: Antton Iturbe)

On February 19, 1972, a crew of mostly Louisiana-raised musicians came together at the Leo Castelli Gallery on West Broadway in Soho to perform a wholly improvised concert. This ensemble’s solos spring from collective improvisations and a tumultuous backbeat, loosely inspired by the creations of Coltrane, Coleman, Albert Ayler, and their brethren. The de facto leader was Richard “Dickie” Landry, a saxophonist and keyboardist who joined composer Philip Glass’s group in 1969. Landry had become a fixture in downtown New York’s loft and art scenes at the close of the 1960s, after he high-tailed it by car from Louisiana to the Lower East Side and auspiciously encountered Ornette Coleman at the Village Gate the night of his arrival. For this concert, fellow Glass reedists Jon Smith and Richard Peck joined in, alongside Rusty Gilder and Robert Prado, both doubling on bass (upright and electric) and trumpet. The drum chair was occupied by New Orleans firecracker David Lee, Jr., who brought alto saxophonist Alan Braufman along for the session (Braufman was the only non-Louisiana player in the band). The ensemble stretched out in the gallery for several hours in a configuration reflecting those that took place at Landry’s Chinatown loft, documented in photos by artists Tina Girouard and Suzanne Harris that adorn the inside of the original gatefold album jacket. Recorded live by Glass’ sound engineer Kurt Munkacsi, the album was released as a double LP on Chatham Square, the small imprint Landry and Glass co-ran, in a stark greyscale cover and simply titled Solos. The order of the players’ improvisations was laid out on the album inner labels, though unsurprisingly there’s a fair amount of blend. At the end of the day Solos is beyond category, a rousing exploration of instrumentation, rhythm, and life. This first-time reissue is remastered from the original master tapes, released as a 2LP gatefold with period photos and new liner notes by Clifford Allen, and an additional 30 minutes of bonus material in the digital edition, included with the download code.

Psychedelic trance ritual music! It is an imaginary and vast horizon. From the percussion instrument group "Kodo", which has its roots in Sado, great performance of Kenta Taku Yutaku, a unit consisting kodo! Reminds me of Mohammad Reza Mortazavi or Ricardo Villalobos & Oren Ambarchi "Hubris"!!

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Kenta Taku Yu Tataku 2nd Album
Physical release on cassette tape along with digital release. The cassette is limited to 100!

Imagine from the sound.
Create sound.

The "sound" that overflows from Kenta Nakagome and Yuta Sumiyoshi, who chose the media "cassette" in an era where they can listen to anything with various streaming services, is particular about their own sound and the sound that only two people can make "NAYUTA". It became a work called.
Please prepare a cassette deck and fully enjoy the difference in texture and sound quality peculiar to analog that can never be reproduced digitally.
Also pay attention to the cassette design that you want to collect and the bonus stickers that come with it!

0on Zero-on, a label run by the percussion group "Kodo 鼓童" which has its roots on Sado Island, has released a cassette recording of a solo performance by percussionist Yuta Sumiyoshi, a member of the "Kodo" group. 

KENTATAKU YUTATAKU’s 3rd album “Zero On” is the eponymous first release on Kodo’s new label 0on.
Featuring four improvisational tracks, ranging from large ensemble works without musical instruments to vast sound collages, KENTATAKU YUTATAKU’s latest work is packed full of heart, soul, and fresh new sound.
Limited release of 200 cassettes + download code. 

Meditations highly recommended. This is J.S. Bach: Das Wohltemperierte Clavie Vol.2 by the Romanian pianist Andrei Vieru. His father was a composer, and he himself seems to be a very intellectual person, not only playing the piano but also painting and writing. His playing is not instinctive and hedonistic as a pianist, but with intellectual restraint and a hint of a seeker of truth. Rather than rolling along with the flow of the music, he lets the sounds become music through the workings of his mind, and as you drift through the world of sound that emerges, it seems to penetrate your inner self before you know it, creating an addictive allure. Also, it is not a classical expression, which is peculiar to classical music, but has a sense of contemporaneity, which I think is also very meaningful. This is a must-listen for people who are not classical music lovers.

After "Bristol Pirates" in '19, it's pirate radio all over again! From "Death Is Not The End", a great place to dig up antique music from all over the world, from pre-war blues to immigrant music and South American folklore, comes a super-impressive compilation of pirate radio commercials from the heyday of London stations between 1984 and 1993. Attack! This is a collection of about 10 years of pirate radio advertisements from the station, which is well known as a regular program on NTS Radio, and includes material provided by Simon Reynolds and the Pirate Radio Archive. "I find a recording of a pirate radio DJ set somewhere and listen to it whenever there's a commercial break. Most of the time, however, the people who recorded them stopped the tapes when the ads came on. It is truly a feat of hard digging, and the fact that most of the clubs, pubs, businesses, DJs, and promoters mentioned here no longer exist is a stiff antique... It is a historical documentary of the past, far from the present, and "the nostalgia associated with them has a certain It is a historical documentary about a past far removed from the present, and "the nostalgia surrounding them has a certain socio-historical significance" (Luke Owen, Death Is Not The End). This is a very valuable film that contains 40 air check scenes.