Avant-Garde / Contemporary

In 1982, La Monte Young and Marian Zazeela used two tambouras to create a document that will go down in history. They are also a strong tribute to their Guru = Pandit Pran Nath. The thick drones of the tambouras create a moiré-like effect, and the meditative state itself is brought out in this highly pure meditative work. There are many sources of minimal and drone music, but I've never heard anything that brings about such a spiritual transformation. It's like something that's been flowing for thousands of years, and it's in a perfect state that can't be cut down or added to. The 44-page booklet is included.

2021 restock; LP version. 180 gram vinyl; 350gsm gatefold sleeve; includes download with "The Doctrine Of Eternal Ice". Originally released by Side Effects in 1986, Zamia Lehmanni was the third (and final) core SPK album and was Graeme Revell's first truly solo project. He was in a period of transition, somewhere between the industrial noise of the early years and his later award-winning soundtrack work. On the day before this was first released, this style of music, now ubiquitous (especially in soundtracks), did not exist. After Information Overload Unit (1981) cleared a space for subsequent explorations, and the environmental percussion and anchored mutilated sound collages of Leichenschrei (1982), the "body without organs" was fully eviscerated. Graeme felt "industrial music" was becoming ossified and needed to be taken into radically new territories: "post-industrial". The track "In Flagrante Delicto" (mastered as originally intended here) was later used by Revell for his work on the soundtrack for the 1989 film Dead Calm, which won him Best Original Score from the Australian Film Institute. Unavailable in any format since Mute's 1992 CD edition, Cold Spring Records now present this landmark album on newly remastered CD, and on vinyl for the first time since 1986. Approved by Graham Revell, this release comes with new artwork by Abby Helasdottir and is remastered by Martin Bowes (The Cage). New liner notes from Graeme Revell, 2019.

This CD release of Dr. Leary's Turn On, Tune In, Drop Out is the first ever reissue of the ESP-Disk' vinyl edition originally released in 1966. This unadorned spoken word recording of the '60s icon, Timothy Leary ("the most dangerous man alive"), was recorded at the famous Millbrook, New York estate just before his famous residency was ended by repeated raids and arrests by G. Gordon Liddy. Though the album title, Turn On, Tune In, Drop Out, became a clichéd rallying cry for a whole generation, it was presented to the public here for the first time. In this document he presents his ideas on drugs, current events and cultural phenomena, with recollections of earlier experiences and experiments; all delivered in a straight ahead, quiet manner even though the content is downright subversive and confrontational. An absolute must for anyone interested in the 1960s or countercultural thinking of any era. First reissue of the ESP-Disk' vinyl edition originally released in 1966. Manufactured in the US by the original label. Digitally re-mastered; digipak format.

Black Truffle is honoured to announce the first ever vinyl reissue of David Rosenboom’s legendary Brainwave Music, originally released on A.R.C. Records in 1975 and here expanded to a double LP with the addition of over 40 minutes of contemporaneous material. Pioneer of live electronics, innovator in music education, collaborator with artists as diverse as Jon Hassell, Jacqueline Humbert, Terry Riley and Anthony Braxton, Rosenboom is renowned for his ground-breaking experiments with the use of brain biofeedback to control live electronic systems. Each of the three pieces that make up the original Brainwave Music LP integrates biofeedback with musical technology in different ways. In the side-long opening piece “Portable Gold and Philosophers’ Stones”, four performers have electrodes and monitoring devices attached to their bodies to receive information about brainwaves, temperature, and galvanic skin response. This information is analysed and fed into a complex set of frequency dividers and filters, manned by Rosenboom, but essentially played by each of the performers through their psychophysiological responses to the situation. The result is a slowly unfolding web of filtered electronic tones over a tanpura-esque fundamental, possessing the unhurried, stately grandeur of an electronic raga. In “Chilean Drought”, three different variations of a text about a drought in Chile, each read by a different voice in a different style, are associated with the Beta, Alpha, and Theta brainwave bands. Alongside an insistent piano accompaniment, we hear a constantly shifting combination of the three vocal recordings controlled by the relative preponderance of each of the brainwave bands in the soloist whose brainwaves are being monitored. “Piano Etude I (Alpha)”, the earliest piece included here, is based on research into the link between Alpha brain wave production and the execution of repetitive motor tasks. As Rosenboom plays a very rapid, incessantly repeated pattern in both hands – deliberately designed to be difficult to execute without being in an alert, non-thinking state similar to that associated with strong Alpha brainwave production – two filters controlled by monitoring his brainwaves process the piano sound, moving gradually higher in frequency as the average Alpha amplitude increases, resulting in a hypnotic, constantly shifting blur of repeated notes reflected through the shimmering, watery lights of the filters. For this reissue, the original LP is supplemented with an additional LP containing an unreleased 1977 live recording of Rosenboom’s “On Being Invisible”, in which the composer himself performs on an array of electronics that are fed information from his brainwaves. Stretching out over 40 minutes, the piece begins in similar territory to “Portable Gold and Philosophers’ Stones” but eventually becomes far wilder, building up to pointillistic bleeps and dense layers of electronic fizz that unexpectedly cut to near-silence. As Rosenboom explains, the piece creates a situation in which the ‘performer’s active imaginative listening became one of the ways to play their instrument, as well as an active agent in how self-organizing musical forms might emerge.’ Enriched with archival images and new notes from the composer, this expanded reissue of Brainwave Music is essential listening for anyone interested in the history of live electronic music and alive to the possibilities it might still contain.

Architecture, music, mathematics. From the series Recollection GRM, which reissues the INA-GRM works, the history of Greek-French people who controlled a large amount of uncontrollable sounds by architecture and mathematical methodologies and transformed them into music with unparalleled strength. Introducing contemporary music composer Iannis Xenakis (1922-2001).

Constructed the Philips Pavilion at the Brussels World's Fair (1958). Also included is'Concret PH', which was performed using 400 speakers, along with Edgard Varese's blockbuster electronic music "Poem Electronique" at the Philips Hall. You can't taste this tingling sensation that is ejected from a very esoteric and incomprehensible range that incorporates mathematics into music. Others, such as the chaotic concrète'Bohor'dedicated to Pierre Schaeffer, are a number of sound images that make you feel as if you are looking at a complete building in front of you.

Exhilarating, previously unreleased recordings by Derek Bailey and his guests at Company Week in 1983: Jamie Muir, Evan Parker, Hugh Davies, Joëlle Léandre, John Corbett, Peter Brötzmann, Vinko Globokar, Ernst Reijseger and J.D. Parran. What¡Çs remarkable throughout this album is the respect and affection the musicians show for each other, exemplifying the dictionary definition of ¡Æcompany¡Ç as ¡Æthe fact or condition of being with another or others, especially in a way that provides friendship and enjoyment.¡Ç It starts with Landslide, a brilliant, spiky, spluttering, twanging reunion of Music Improvisation Company members Evan Parker (tenor sax), Hugh Davies (electronics) and Jamie Muir (percussion). Next up, Seconde Choix, with Joëlle Léandre¡Çs close-miked prepared bass and Bailey¡Çs acoustic guitar seemingly heading in different directions before coming together miraculously in just four minutes. The opening of First Choice, a duet between Bailey and Muir, is a revelation for those who moan that the guitarist plays too many notes. His patient and truly exquisite exploration of harmonics is beautifully counterpointed by Muir¡Çs metallic percussion. On Pile Ou Face (Heads Or Tails) Davies concentrates on his high register oscillators, carefully shadowed by Parker¡Çs soprano until Léandre¡Çs deft, springy pizzicato lures them into the playground. JD In Paradise is a surprisingly delicate wind quartet, with John Corbett¡Çs trumpet, fragile and Don Cherry-like, punctuating the sinuous interplay between Peter Brötzmann and J.D. Parran (on sopranos, flutes and clarinet), while trombonist Vinko Globokar growls approvingly in the background. Igor Stravinsky¡Çs definition of music as the ¡Æjeu de notes¡Ç comes to mind listening to Bailey¡Çs duet with cellist Ernst Reijseger (executing fiendish double-stopped harmonics with staggering ease). Technical virtuosity has never sounded so effortless – it is, as its title Een Plezierig Stukje simply states, a fun piece. On the closing La Horda, Bailey and Reijseger team up with the horns for what on paper looks like it could be rough and rowdy sextet but which turns out once more to be a thoughtful, spacious exchange of ideas, shapes and colours.

To celebrate the 30th anniversary of Deep Listening, Important Records offer a definitive double-LP combining the classic, complete original 1989 release with selected tracks from the Deep Listening Band's 1991 album, The Ready Made Boomerang. Recorded in a cistern, this CD reverberates with brilliant sonic clarity and masterfully improvised performances combining live electronics, vocals, trombone. and accordion. Deep Listening is a classic in the fields of improvisation, minimalism, ambient/drone, and modern classical. Listen with attentiveness, listen while lying down, listen with headphones -- as recording engineer Al Swanson entices the listener to become a virtual performer in selecting the many different ways to perceive these phenomenal tracks. Whatever you do, listen deeply. Packaged in a gatefold sleeve with original and updated recollections from the performers, the engineer, and a mesostic from John Cage, to whom these recordings are inextricably linked.

It's been four years since their shocking debut album. Four years after her shocking debut album, a long-awaited new album has arrived. Four years after her shocking debut album, Pan Daijing, a Chinese female sound artist based in Berlin, Germany, has released her second album in analog form on the prestigious PAN label! Here, the aesthetics of industrial/drone and underground noise, which have been handed down since the days of Ramleh and M.B., and a cathartic, ominous performance come together. A masterpiece of post-industrial music, full of anxiety, loneliness, and a sense of apocalypse!

“Atmospheres” is one of his most interesting Piero Umiliani's albums, published in a limited edition in the mid-Seventies. A period of musical confusion even though not for him, who had always been eclectic. The charming soundtracks for Luigi Scattini's documentaries were already behind him, as was the great orchestral jazz production: his career had already been long and full of professional satisfactions. The present for the composer consisted of the scores for a number of Italian comedies and, most all, a set of sonorizations. These appeared projected into the future, thanks to their avant-garde attitude and the electronic sounds which seemed to arrive from a parallel universe. The sixteen tracks of “Atmospheres” belong to this group of works which were not tied to specific cinema projects, where the composer's incredible imprint is at its height. In all this creative freedom it is clear how the titles of several pieces pointed to specific thematic suggestions, so that they could instantly be adopted by producers and documentary film editors. A choice that is not accidental. Just like that of Musica Per Immagini which continues to select hidden treasures from the rich catalog of the maestro to be reprinted for the first time in over forty years, remastering them from the original tapes.

Tetsuo Furudate has been working on projects including electronic music, films, videos creating time passages between old and new pieces, re-reading the past through re-appropriations. All his recent pieces can be watched or just listened to. it is also a cultural mix embracing all eastern and western cultures (from JS Bach to Merzbow). Here he recreates a borderless and timeless universe, where voices and pianos reach emotional moments of great depth. The whole is driven by Tetsuo who, by a continuous mixing, conceives these different pieces as an editor would a film made of borrowings images, archives material and unpublished fragments. The Nocturne, The Nightmare and a Fruit features Keiko Higuchi and Olga Magieres. Tetsuo Furudate was first the collaborator and friend of Zbigniew Karkowski in Japan, together they created some of the most radical but complex pieces under the name of World as Will (after Arthur Schopenhauer's book), some of which were rewritten for the Viennese Zeitkratzer Ensemble. Keiko Higuchi is above all a pianist and performer, linked to jazz and improvisation. She was revealed by Love Hotel (2008), her concerts are like real performances, she is considered as one of the most singular and impressive performing artists of her generation. Olga Magieres, Russian pianist living in Denmark, specializes in improvised music and the syntactic relationship of languages. She has already collaborated with Tetsuo in 2010 with Introduction Of Blue Of Noon, her first opus Piano and Poetry had been praised.

This work "The Apointed Cloud" was developed in 1987 as a large-scale sound installation, and despite being positioned as a representative work of Yoshi Wada, his activities are , It has never been reported to Japan.
Included here are a variety of pipe organ-style instruments, large-scale self-made instruments that combine huge metal plates and junk materials, in addition to installations that vibrate and be beaten under computer control. It is a live performance that announces the opening of the exhibition of works in which the artist participated. This is a very different content from the installation that was open to the public, and it is a one-time performance on November 8, 1987, which was handed down only by the invited guests who experienced this performance at that time and was half legendary.
Bagpipes by Yoshi Wada and other improvisational field artists, percussionist Michael Pagres, who co-starred with David Tudor and others at the Merce Cunningham Dance Company performance, and computer programs were created. At the same time, David Reina assisted the electronic sound in the performance of La Monte Young.

The Tokyo-based Japanese experimental musician Masaya Nakahara as kwon as Violent Onsen Geisha has been dazzling us with his entirely singular approach to sound since 1989. Harnessing his unique natural approach to mixier by combining techno, pop samples and hip hop, as well as his sister's karaoke singing or his parent quarreling, screams and glass or ceramic bowls broken, he incredibly built a body of work in recorded contexts that has almost no parallel, producing arrangements where all the style and the sonic atmosphere meet in a happy junk room and elaborating his delirious patchwork studio from magneto-phone tapes. His amazing cut-up proved interesting to major band such as Sonic Youth and Beck, who invited him on a US tour in 1995. At the height of his music career as Violent Onsen Geisha in 1998, Nakahara published Mari & Fifi No Gyakusatsu Songu Bukku (Mari & Fifi’s Massacre Songbook) and made his debut as a novelist. In 2001, he received the 14th Yukio Mishima Award for “Arayuru Basho Ni Hanataba Ga” (Bouquets of Flowers Everywhere), and became increasingly active as a writer and movie critic. His best-know cassette Shock! Shock! Shock! released in 1989 from legendary Vanilla Records, first time reissued on vinyl format, takes us deep into the intimately responsive aspects of his work. Despite the density of its structures, that combine the most disparate musical genres with deafening shouts and crashes, Shock! Shock! Shock! feels like a breath of fresh air, fearlessly skirting the line between creative rigor and focused interplay and a playful irreverence in ways that leave you wondering where the hell you are. ‘’For someone who has no musical talent like me, the only thing that I could naturally create was noise.’’ Masaya Nakahara Vinyl with the magnificent mastering by Andrea Marutti is a truly thrilling exchange of collages, vacillating between kitsch, the austere, and boundary pushing structures, all played against and pushed onto the next level by Nakahara incredible talent. Unflinchingly beautiful and creatively challenging, Shock! Shock! Shock! completely defies genre and definition, rising as a wonderful reminder of what noise music is all about. A justly radical zone of creative patchwork sound that renders an engrossing listen that you can’t pull out of once you’re in. Released in an edition of 299 copies sole, unquestionably one of our favorite reissues of the year. Absolutely stunning, this is a stone-cold killer that can’t be missed.

Gigi Masin, a composer from Venice, Italy, who made a name for himself in the world through a major compilation work by . The limited edition work released with a photobook in 2016 will be reissued with additional unreleased songs! The long-awaited expanded reprint of the finest property created by <13>, a sub-label of the Italian experimental sanctuary , has been released. The best title, released as a homage to his hometown of Venice, and recommended as one of the most beautiful and impressive works by the legendary Italian minimalist. This is the first time for cassette / LP.

Already low stock at the distributor. A miraculous analog release of the first collaborative work between masters Ryuichi Sakamoto and David Toop, an album that includes the entire concert held in London in August 2018! They have collaborated with Evan Parker, Akiko Yano, Arto Lindsay, Christian Fennesz, and many others in various fields, including film music, sessions in the popular music field, and sound installations. The title is inspired by Japanese horticultural aesthetics, and the recording is a masterpiece of minimalism, with spatial metaphors woven throughout by the two artists' outstanding aesthetic sense.

Michèle Bokanowski's art is one of densities, much like the density of a given colour, a given depth. Her sound textures are, indeed, profound, both in the space occupied by their frequencies and the sharp temporal trail they leave behind. Here lies the composer's immense talent that finds the right development for each sound, letting it blossom before altering it, adapting the musical structure to let the sounds “be”, even if it sometimes means returning to the most basic form, such as a loop. This is a sign of great honesty and artistic sensitivity; able to stand back and let the music become music. It is the most radical, the most accurate gesture of composition. The two pieces on this record, dissociated in time, both in their approach and destination, nevertheless reflect, each in its own way, Michèle Bokanowski's highly singular and insightful musical intuition. François Bonnet, Paris, 2020.

ミュージック・コンクレート創始者、ピエール・シェフェールによって設立されたフランス音楽研究グループ〈INA-GRM〉の最重要人物にして、Aphex TwinやAutechre、Keith Fullerton Whitmanにも影響を与えた仏の電子音楽家Bernard Parmegiani。69年にLPリリースされた激レア・アルバム「Violostries / Bidule En Ré / Capture Éphémère」より”Violostries”、そして、同アルバムに収録された”Capture éphémère”の88年ステレオ・リミックス版、72年度発表「Chronos」に収録されていた”La Roue Ferris”の3曲をコンパイルした電子音楽好き必携の特大編集盤が〈Editions Mego〉と〈INA-GRM〉協賛で運営される重要レーベル〈RECOLLECTION GRM〉から登場！1965年4月にフランスの“Royan Festival”にて、Devy ErlihとBernard Parmegianiによって初演及び録音された作品であり、作曲家／演奏者と楽器／オーケストラの同時対話として提示される、幾つかの音楽研究の方向性の交差点を表すという”Violostries”（1963年〜64年）、パリの〈Maison de la Radio〉のStudio 105にて67年5月に初演、録音したにも関わらず存在し続ける存在し続ける「時間の経過と共に循環するノイズ」である”Capture éphémère”（1967年に作曲、88年版）、マントンの”Festival des chantiers navals”にて71年8月26日に初演、観覧車を回転させることで、そのレゾナンスと融合して、そのバリエーションをどこまでも永続させ、一定の軸を中心に定期的に進化する動きをスケッチするという”La Roue Ferris” (1971年)の3作品を収録。Rashad Beckerによって〈Dubplates & Mastering〉にてカッティング。Stephen O'Malleyによるレイアウト。やはりクオリティは折り紙付きです！

New York-based artist Eli Keszler is at the apex of his career. This year alone he’s had a three-month-long solo exhibition (“Blue Skies” at Fuse Arts, Bradford, UK), performed internationally in a duo with Laurel Halo, collaborated with noted Hungarian author László Krasznahorkai, taught experimental composition and performance at Camp in the Pyrenees mountains, composed music for Turner Prize–winning visual artist Laure Prouvost, and most recently embarked on a world tour with Oneohtrix Point Never.

“Stadium” is his new album for Shelter Press. As his ninth solo record,“Stadium” reflects his move from South Brooklyn to Manhattan, where he produced the album. The constant blurry motion and ever-changing landscapes of the fast-paced island helped him modify and shape his sound into a new kind of film noir. “After we moved into our East Village apartment,” Keszler explains, “we found a guitar pick on the floor that read ‘Stadium’. We looked at each other at the same time and had the same thought. It could have gone any number of ways.” Indeed, there is a startling amount of expression at play on each track, where intersections of melody, restraint and rhythm are used to challenge the idea of memory, impression and space.

Keszler is often mistaken for an electronic musician, but in fact his sounds are raw and natural, produced by hand live in-situ. His performance with the drumset and acoustic percussion are central to his work. He produces almost impossible textures through self-realized methodologies: cascading melodies, a shadow of voices, and a unique pointillistic materiality. Although playing with the intensity of digitally-created music, his communications are done live with no processing. These haptics are what give “Stadium” its depth and its warmth. In a recent interview for Dazed, collaborator Oneohtrix Point Never comments, “I’ve always described his playing as bacterial. He’s able to parallax into very small, very acute, very specific relationships between percussive textures. It’s beyond just being a drummer—he’s a world-building percussionist.”

In “Stadium,” Keszler uses lived experience to realize the most wide-ranging sound he’s created to date. “Stadium” draws out textures from overlapping geographies (from Shinjuku arcades to city streets and Brutalist architecture) and transforms these travelogue field recordings into starting points for composition. He then builds on these environments to create subliminal spaces for his percussion, keyboards and acoustic instruments. His “world-building” techniques are pushed to new levels with mesmerizing string and brass arrangements. Throughout the album, Keszler’s writing, keyboard playing and scoring operate like a sonic channel that transports the listener into a quaking web.

Perhaps this is the “stadium” referred to in the title: a larger network of sound and bodies moving continually, oscillating and turning in on itself. Keszler has explored these ideas before both in his visual work and sound installations—especially notable on projects such as his massive Manhattan Bridge installation ‘Archway’ or his Boston City Hall work «Northern Stair Projection.» “Stadium” takes these long-running ideas to new depths. “My installations work with massive city spaces for a complex of individuals,” Keszler states. “The recordings on Stadium are inverted. They are landscapes scaled for the singular. Like a mass collecting in one arena, this music compresses city spaces, genre and instrumentalism into an amorphous form. On the record, there are ruptures of information and happenstance. Like a game, it could go any number of ways.”

At long last, after remaining out of print for decades, the Milan based imprint, Dialogo, dives into the legendary catalog of Cramps, bringing forth the first ever vinyl reissue of Steve Lacy’s LP, "Straws", issued as the sixth instalment of the label’s DIVerso series in 1977. Truly singular in the legendary American saxophonist’s discography - featuring stunning solo excursions and dialogs with himself - it remains one of the great documents of 1970s improvisation, and is as engrossing, creatively riveting, and as ahead of its time today as it was when it was laid to tape. Complete with original liner notes penned by Lacy himself, it’s not to be missed! **Edition of 300 LP on black vinyl. Audiophile pressing, including printed inner. Perfect replica of the original packaging and newly remastered for optimal sound.** For the scale of its impact, Cramps was a relatively short-lived endeavour, running for roughly seven years between 1973 and 1980. Founded in Milan by the producer, publisher, and graphic designer, Gianni Sassi, the label was a near perfect emblem of revolutionary temperaments emerging within Italy during that era; creatively radical, globally minded, without profit motive, and bridging numerous musical idioms. Subsequently, few labels associated with experimental music have garnered as much affection, or as devoted a following as Cramps. It’s seminal albums by John Cage, Gruppo di Improvvisazione Nuova Consonanza, Giusto Pio, Demetrio Stratos, Juan Hidalgo, Robert Ashley, Walter Marchetti, Cornelius Cardew, Raul Lovisoni / Francesco Messina, Alvin Lucier, Derek Bailey, and so many more - the vast majority of which have remained largely out of print and nearly impossible to obtain for decades - rank among experimental music’s great holy grails. Now, at long last, the Milan based imprint, Dialogo, has begun a stunning series of vinyl reissues from the Cramps catalog. A little while back we celebrated their reissues of Costin Miereanu’s Luna Cinese and David Tudor’s Microphone, and now they’re back with the seminal American saxophonist Steve Lacy’s 1977 LP, Straws, their first exploring the Cramps’ legendary DIVerso series. First emerging during the mid 1950s, saxophonist and composer, Steve Lacy (1934 – 2004), has long been regarded as one of the most important contributors to 20th Century musical canon, producing groundbreaking records with Cecil Taylor, Don Cherry, Thelonious Monk, Kenny Burrell, The Jazz Composer's Orchestra, Alan Silva, Roswell Rudd, Globe Unity Orchestra, ICP Orchestra, Miles Davis, and numerous others. An early adopter of free improvisation and experimental forms of jazz, despite his incredible catalog of collaborations, it is Lacy’s work as a solo artist and band leader that towers above the rest. Released in 1977, Straws encounters Lacy more than two decades into his professional career, brimming with confidence, versatility, and at the top of his game, building on the back of an incredibly prolific period of recording that grew from his move to Paris in 1970, where he remained for the bulk of his remaining years. The album, sparse and visionary, features six individual works - two solo pieces, two with celeste accompaniment, and two tape collages - dedicated to figures from various disciples of the arts, Brion Gysin, Janis Joplin, Art Tatum, Marilyn Monroe, Igor Stravinsky, and his wife, the singer Irene Aebi. Easily among the most adventurous of Lacy’s output from the period, Straws deftly rises to the demands of each challenging venture, creating something entirely brave, singular and visionary from clusters of tone, airy spaces, deconstructed melodic structures, playful moments, and truly radical dialogs with himself. Freejazz that’s not quit freejazz, and experimental music as it should be understood and rarely is, Straws, heard more than fourty years after it first emerged, heaves with life, and stands as a potent reminder of what a powerful creative voice Lacy was. It’s absolutely incredible and engrossing from the first note to the last. This first-time vinyl reissue from Dialogo comes in a beautifully produced sleeve that faithful reproduces the original cover artwork and inner sleeve. A must for fans of Cramps, Lacy, or experimental music and freejazz at large.

Amelia Cuni, who was born in Milan and has lived in Berlin for many years, has lived in India for more than 10 years and studied with the masters of the classical Dhrupad vocal style. Amelia Cuni, who was born in Milan and has lived in Berlin for many years, spent more than a decade in India, where she studied with masters of the classical Indian vocal style of dhrupad. Amelia Cuni, who has performed John Cage's vocal music and collaborated with Werner Durand and Terry Riley, is a legend who has passed on the traditional Dhrupad style of singing to the present day.

Formed in 1976 in Brixton, a multicultural, and - at the time - down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough. Given the difficult, abrasive, and involved nature of their furiously forward-thinking sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience - whether that audience was ready for them or not. Made Available collects This Heat's two Peel Sessions, recorded for BBC Radio 1 in April and October of 1977 and features essential songs that would later appear on their debut album, This Heat (1979) and the follow-up, Deceit (1981), as well as electro-acoustic works unique to these sessions. These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure. Following Modern Classics Recordings' 2016 reissue campaign to mark the band's 40th anniversary, these new releases Made Available, Repeat / Metal and Live 80 - 81 round out the story. Each release is sanctioned by surviving members Charles Bullen and Charles Hayward and features newly remastered audio sourced from original tapes.

Originally recorded and released in 1988, Nurse With Wound’s ambient opus was years ahead of its time, a ground-breaking set of atmospheric sound patterns designed for ritual ceremonies. Hailed as a masterpiece on release, it soon became a firm favorite of NWW fans and topped the world ambient chart for over three months!
 
Originally a limited-edition three-album set housed in a handsome 12-inch gold and black foil embossed box, this new edition, a CD facsimile of the original vinyl set, contains the entire album plus 40 minutes of superb quality, previously unreleased music from the original sessions. A gold foil blocked cover and new parchment insert makes this one of United Jnana’s most elegant and desirable releases to date.

An amazing property has arrived. Don't miss this one. TIBOR SZEMZŐ is an experimental musician and media artist from Budapest, Hungary, who is part of the legendary "Group 180" ensemble that has performed with Steve Reich, Philip Glass, and Frederic Jevsky of MEV. TIBOR SZEMZŐ is an experimental musician and media artist from Budapest, Hungary, whose masterpiece "Snapshot from the Island" with László Hortobágyi was also reissued on LP. A Guest of Life" was released in 2006, and was inspired by the life of Alexander Csoma de Körös, a 19th century orientalist. A total of 14 newly layered tracks are included. The result is an avant-garde modern classical masterpiece that will appeal to lovers of fourth world and imaginary landscape!

Greta Lindholm is an absolutely unique personality in the contemporary dance scene. She toured in India, Mexico, Japan, Scandinavia, Italy and France, during the '70 and '80 making known her synthetic and experimental approach in the choreographic field. Her art explores new boundaries and is essentially pure celebration of the body language and voice in its intimate relationship with the fluidity of movement. Using mainly foot drumming and vocal rhythms, she makes her body the only instrument of continuous exploration, halfway between traditional songs and rhythmic-gestural improvisation. Greta seems to treasure different vocal cultures and give them an avant-garde reinterpretation: from Scandinavian folklore to jazz scat singing, from baroque arias to the African Pygmy. Particular influence is given by the metric-vocal spelling of Karnatic and Hindustan music. All these differents suggestions serve to reinforce and accompany her plastic movements. Greta's performances are studded with imaginary phonemes, onematopeic patterns, rhythmic phrasing, phonetic articulations, breathing, spiral structures, frenetic drifts, clap handings or feet like timpani or snare drums. In this way her dance becomes "silent music" and can have analogies with other noteworthy vocal explorations, such as those of Meredith Monk. For the first time an audio document is a available on LP and CD, a co-production with our beloved friend: Sing a Song Fighter.

From Oren Ambarchi's renowned Black Truffle label comes a new album from New Zealand-based experimental musician Annea Lockwood, who studied electronic music at London's Royal College of Music. This album contains two important instrumental pieces. The album features two important instrumental pieces, one by Nate Wooley (who has performed with Mary Halvorson and Elliott Sharp) and the other by the avant-garde quartet Yarn/Wire.