Avant-Garde / Contemporary

Transversales Disques, an important label under the direction of Jonathan Fitoussi of INA-GRM, has been making every effort to reissue rare archival recordings of music concrete, library music, and avant-garde jazz. Transversales Disques is proud to present the first official analog release of a rare and previously unreleased live performance by the Afro-American saxophonist Archie Shepp, a giant of avant-garde jazz who is known for his work with Cecil Taylor and John Coltrane. This masterpiece captures the pivotal moment when one of the great giants of free jazz was transforming into funkier, fusion-tinged tunes and more straightforward bops on the border of spiritual jazz. The historical importance and raw beauty of this album still has a timeless appeal. This is a must have for all music lovers. Mastered from the original master tape. Includes exclusive liner notes and gorgeous photos from the sessions.

Brain Damage in Oklahoma City is the second installment in the Siltbreeze / Quakebasket series of music by poet/mystic/shaman Angus MacLise. Culled from the archives of Mr. Tony Conrad, this volume (covering the years 1967-'70) highlights MacLise's unique and intricate drumming style. Cembalum, bongos, hand drum, barrel congas¡½all are majestically thumped'n'bumped for maximum orgasmic sensory satisfaction. Comprised of eight tracks, the acme of this collection is the two large ensemble pieces, "Dreamweapon Benefit for the Oklahoma City Police Dept. parts 1 & 2," featuring Angus (barrel conga), Hetty MacLise (tampura), the poet Jackson Maclow (recorders and voice), Henry Flynt (song flute and voice) and Tony Conrad (limp string). These tracks, recorded in May of 1968, are the apex of maximalist loft style psychedelic improvisation. Conrad's illuminating, occasionally hilarious liner notes set up the narrative of this volume and offer a brief glimpse back into the mind-scrambling fracas that was NYC, USA, Earth 1968. Along with more gorgeous, brain-warping Invasion-style sleeve art, included in the CD booklet is a reproduction of the poster for the Dreamweapon Benefit, confirmation in black and white that for four nights in May, 1968, Wooster Street Cinematheque was definitely one witchy place to be.

Synth legend Suzanne Ciani, Demdike Stare's Sean Canty & Finders Keepers' Andy Votel come together on this killer hour-long 2014 synapse popper of a collaboration pooling the occasional group’s esoteric collage-based approach into a remarkably foreboding session pregnant with a dread that’s never quite resolved. Think Vladimir Ussachevsky, Todd Dockstader, Spectre and Company Flow melted thru the Deutsch-Italo industrial DIY tape era and funneled thru an almost impenetrable fog of Ann Arbor basement noizze. 

Hustling some of Neotantrik’s most amorphous gestures, ’241014’ is a four-segment movement of reduced Buchla treatments, destroyed vinyl loops and scraping foley suspense; like a cosmic dream diary layered into a collage of drones and clatters. Little in Ciani's extensive catalogue has hinted at what's on display here; the joyful lullaby-pop of "Seven Waves" or metallic alien soundscraping of "Flowers of Evil" are only hinted at. She instead paints new sonic vistas, allowing space for her collaborators to make themselves known; Votel's chiming toy autoharp and Bubul Tarang (a Punjab string instrument) add a distinctive flavor, while Canty's grimy drones and noise-soaked textures drizzle pitch-black molasses into the cracks and crevices. Together, the effect is a bit like hearing Philip Jeck improvising over Popol Vuh's peerless Moog-led debut "Affenstunde" or Demdike Stare knocking out impromptu reworks of Tangerine Dream's abstrakt early run.

Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. So it’s all the more remarkable that their improvisations naturally find a democracy of role and such a heightened level of intuition, beautifully converging their thoughts to mutual, open-ended conclusions that leaves billowing room for interpretation. In a most classic sense, it's like the sensation of sleep paralysis or dream/nightmare ambiguity, with a level of suggestiveness that’s disorienting from end to end.

For the first time the recordings are now available in high fidelity (there was a tape version a couple of years back) - now remastered by Rashad Becker to better represent the otherworldly scope of their actions on stage, from the NWW-like queues and drone of ‘Scanned Accents’ and keening silhouette of ‘Second Action,’ to new sections of subaquatic Porter Ricks-like murk in ‘Anti-Contraction’ and the levitating webs of synth and tactile, sampled textures in ‘Last Canción.’  

Tape music and synth music have long shared a passionate embrace, and here turntablism coolly slides in on the action. Canty and Votel's background in beat tape assembly and crate digging pays off: they're keenly experimental creators but bring an unfussy sense of rhythm and performance that's miles beyond any facile repetition of a nostalgia for vintage glory. Combined with Ciani's delicate Buchla work - it’s a unique proposition.

This is a compilation of 36 tracks from Moondog's earliest recordings from 1949 to 1995, including various recordings from the New York and European eras, as well as some now-lost singles! The 78s series at the time of their debut and the 1953 EP On The Streets Of New York (all tracks included) are included, as well as material from their self-produced records and various labels (Mars, Epic, Folkways, etc.) with the money they saved from playing and sleeping on the streets of New York. I've been playing and sleeping in the house for a long time. This record is characterized by the rumbling percussion and self-made instruments. In addition to the symphonies and songs of the German period, which are characterized by strings and horn arrangements that give a solemn impression, the bleak and uncanny performances are unlike any of his previous works. The more I listen to this album, the more I realize how unique and rare Moondog was as a performer and composer, and what a wonderful human being he was (at the time, Moondog got tired of being told that he looked like Christ and started dressing like a Viking). So he started to dress like a Viking). ). This is a spectacularly high quality album that shows off Moondog's true nature and essence to the fullest. This is a masterpiece that can be said to be the culmination of the entire period! This is a must have for both new listeners and Moondog enthusiasts!

Over the last fifty years few musicians or performers have created as monumental and uncompromising a body of work as that of Keiji Haino. Through a vast number of recordings and performances Haino has staked out a ground all his own creating a language of unparalleled intensity that defies any simple classification. For all this, his 1981 debut album Watashi Dake? has remained enigmatic. Originally released in a small edition by the legendary Pinakotheca label, the album was heard by only a select few in Japan and far fewer overseas. Original vinyl copies became impossibly rare and highly sought after the world over.

Watashi Dake? presents a haunting vision – stark vocals, whispered and screamed, punctuate dark si-
lences. Intricate and sharp guitar figures interweave, repeat and stretch, trance-like, emerging from dark recesses. Written and composed on the spot – Haino’s vision is one of deep spiritual depths that distantly evokes 1920’s blues and medieval music- yet is unlike anything ever committed to record before or since. Coupled with starkly minimal packaging featuring the now iconic cover photographs by legendary photographer Gin Satoh, the album is a startling and fully realized artistic statement.

Previously unreleased recordings by various lineups drawn from Derek Bailey, Tristan Honsinger, Christine Jeffrey, Toshinori Kondo, Charlie Morrow, David Toop, Maarten Altena, Georgie Born, Lindsay Cooper, Steve Lacy, Radu Malfatti and Jamie Muir.

Journalists often make the brief history of Free Improvisation conform to the idea that the history of music is a nice straight line from past to present: Beethoven… Brahms… Boulez. Thus Derek Bailey, Evan Parker and John Stevens — together with Brötzmann and co across the Channel — were the trailblazing ‘first generation’, forging a wholly new language alongside contemporary avant-garde and free jazz. Figures like Toshinori Kondo and David Toop, willing as they were to incorporate snippets of all kinds of music, were the pesky ‘second generation’, happily cocking a snook at the ‘ideological purity’ of Bailey’s non-idiomatic improvisation.
‘Company 1981’ shows up the foolishness — the wrongness — of such storylines. Check the eclectic collection of guests Bailey invited to Company Weeks over the years. He had clear ideas about the music, but he was no ideological purist.

One of the founders of Fluxus, Charlie Morrow injects blasts of Cageian fun into half the recordings here, whether blurting military fanfares from his trumpet, or intoning far-flung scraps of speech. Cellist Tristan Honsinger and vocalist Christine Jeffrey join in the joyful glossolalia, while Bailey, Toop and Kondo contribute delicious, delicate, hooligan arabesques, by turns.
The remainder are performed by a different ensemble: Bailey, bassist Maarten Altena, former Henry Cow members Georgie Born and Lindsay Cooper on cello and bassoon, the insanely inventive Jamie Muir on percussion, and trombonist Radu Malfatti, showing his mastery of extended technique. Were that not enough, there’s the inimitable purity of Steve Lacy’s soprano ringing high and clear above the melee. Glorious!

There’s always been this idea that Free Improvisation is somehow Difficult Listening, but when the doors of perception are thrown open and prejudice cast aside, you realise that it’s not difficult at all. “Is it that easy?” chirps Morrow, at one point. Indeed it is.
Enjoy yourself.

Moondog (1916-1999) is a rare figure whose music, with its vitality and creativity born from the depths of humanity, has influenced all kinds of people, from jazz to experimental music. This is a co-release by [Mississippi Records] and [Lucia Records]! This is a treasure trove of material from live performances on the road, where even the breath of the spirit dwells, to Schwartz's studio, to the rooftops of New York City. The songs on this album were selected directly from the original tapes stored in the Library of Congress, and have never been released before. The album includes a previously unreleased version of "Why Spend The Dark Night With You? The complete version of "Nocturne Suite" and "On The Streets Of New York" EP, which was released on 7". This is a collection of extremely rare material. The liner notes include a never-before-seen interview with Moodog by Tony Schwartz. Includes liner notes with a complete, unpublished interview with Moodog by Tony Schwartz. an old-school tip-on cover.

A classically trained dancer, Gabriel Roth was involved with the early ’60’s counterculture movement as a dance instructor for therapeutic workshops at the legendary Esalen Institute in San Francisco and Arica School in New York. These facilities and groups played key roles in the Human Potential Movement in psychology which later led to Transpersonal Psychology and the New Age Movement.

Through direct encounters and training from the era’s noted psychologists, philosophers, anthropologists, and spiritual gurus, she single-handedly rediscovered and redefined the ancient shamanic technique of ecstatic dance, establishing a method she named 5Rhythms in the late 70’s.

The practice of 5Rhythms consists of five movements: Flowing, Staccato, Chaos, Lyrical and Stillness. Through this dance sequence difficulties and obstructions in life can be identified and ultimately overcome. The sequence of the rhythms helps create waves that allow the dancer to reach a point of inner stillness. It is a globally recognised movement meditation practice with over 400 qualified teachers in more than 50 countries. Though Gabrielle Roth passed away in 2012, her spirit and legacy have been passed down through her family and extensive followers. It is still being practiced today.

Music plays a key role in these workshops. Following the shamanic tradition of using live percussion as a driving force, the music is necessarily rhythmic in nature and repetitive enough to focus on self-movement without invasive melodies or lyrics to distract one’s mind. It must be fairly lengthy in duration, with the journey defined by the pulsing waves of emotional flow that guide the body’s movement. The music was not intended to be consumed while socialising, but as an aid to the internal journey into one’s soul. It is minimal, abstract, and atmospheric.

As a result of these characteristics (or rather functionalities), their albums didn’t fit into any conventional styles at the time of their release in the early 80s. Theirs is a pure form of dance music that also shares many commonalities with ambient music in the modern context. Yet ambient music had yet to establish itself as a genre at the time despite the early efforts of Brian Eno while underground dance – the genre with which it shares many of its stylistic qualities – was yet to be born. Their releases were rarely appreciated outside of workshops.

Between 1982 and 2008, Gabrielle and her husband Robert Ansell produced 16 original albums as Gabrielle Roth & The Mirrors. Robert brought together some of the best studio musicians that New York had to offer while his son Scott – who later became a Grammy-winning sound engineer – recorded and mixed all of their crystal clear productions.

Endless Waves: Vol 1 was originally released on their own private label in 1996 on CD. Comprised of a selection of their past recordings, the first part acts as a seductive entry point into their rhythmic sound world, with Roth’s voice intoning gentle instructions over each track. The opener Body Parts commences with a series of rolling polyrhythmic beats to prepare the body for meditation. From there the music shifts through a series of ambient moods that evoke each of the ‘5Rhythm’ states of being. Atmospheric synths and stately violins combine to help ease into movement on Flowing. Didgeridoos and funky bass lines evoke masculine energy on Staccato before the tumbling rhythms of Chaos encourage the uninhibited release of one’s mind and body. The soft vocal harmonies of Lyrical help the listener towards a lighter, more fluid, and creative state of being creating a becalming state that continues with the deep ritualistic chants and languid drums of Stillness.

The second part of the album consists of a non-guided version of the same journey. Freshly recorded for the album’s release in 1996, the band deliver up an equally vital series of brilliantly realised rhythmic excursions.

In the words of Gabrielle Roth: “I have found a language of patterns I can trust to deliver us into universal truths, truths older than time. In the rhythm of the body, we can trace our holiness, roots that go all the way back to zero. States of being where all identities dissolve into an eternal flow of energy. Energy moves in waves. Waves move in patterns. Patterns move in rhythms. A human being is just that, energy, waves, patterns, rhythms. Nothing more. Nothing less. A dance.”

A brilliant mini documentary about Gabrielle Roth & 5Rhythms created by Iris Hod

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.

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.

The music of Naarm/Melbourne composer Lisa Lerkenfeldt channels a unique wavelength of foreboding, interstitial electronics, incorporating strategies of musique concréte threaded with veiled currents of melody and hypnosis. Recent recordings for Vienna Press, Longform Editions and Aught Void have demonstrated different depths of process and finesse but her latest, Collagen, captures perhaps the most complete and complex manifestation of her craft to date. Drawing on a disciplined palette of peach wood combs, contact microphones, piano, strings, and feedback, the album moves in low, looming arcs, ascending to strange purgatories of opaque atmosphere. Lerkenfeldt cites a core aspiration to “elevate the everyday,” transforming common objects into otherworldly sound sources, which colors Collagen with a beguiling tactility, like vibrations traced in sand. The tracks shift in frequency and feeling, alternately heady and bodily, acoustic and synthetic, isolated states of static, light, and undertow skirting the outer rings of ambient, noise, and modern composition. Although each piece exists in its own rare air the composite panorama they present is striking in its sweep and subtlety. Lerkenfeldt's muse seems one of evasion as much as evocation, navigating negative spaces for their subliminal whispers of dread or beauty. It's an aesthetic both ascetic and exploratory, minimalist mirages of resonance, texture, and gravity skewed through the pensive glow of room tone. But Lerkenfeldt is too versatile an artist for purist restraint, which Collagen demonstrates dramatically in its closing cut, “Champagne Smoke.” A quivering bowed eulogy ebbs under a flickering film of distortion, slowly swelling in sorrow until suddenly the screech goes silent, revealing a murmuring phantom haze hidden beneath the strings, like a specter lost in an abandoned house. 14 Gestures associated with this album will be performed in experimental film and online viewing room of graphic notation at 14gestures.com from 29th July to 29th October, 2020. Collagen releases on Shelter Press in LP / DL format on August 21, 2020. LP mastered and cut by Kassian Troyer at D+M, designed by Bartolomé Sanson with art by Lisa Lerkenfeldt, housed in reverse-board inner and outersleeve, including a 16 pages limited edition score book.

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.

The original is an EP that was released as a private press in 1953. In the 1950s, he performed avant-garde and more original than anyone else. I have no idea what kind of music was the foundation, but it is a wonderful performance full of vitality and creativity born from the depths of human beings.

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.

Originally recorded and released in 1980, Six of One beautifully captures the detail in Evan Parker's high frequency split tones for which he is now perhaps better known. Five years on from Saxophone Solos and with circular breathing and polyphonics well-worn into his live performances, Parker's experiments here produce sustained passages of brilliant flight. Set into the echoes and resonances of a St Judes On The Hill church, the results are stunning. Transferred from the original master tapes by Thomas Hall at Abbey Road Studios and released in an edition of 500.

Swedish composer Ragnar Grippe gets an old collection released on Dais Records (Genesis Breyer P-Orridge And Thee Early Worm, SRSQ). Written in 1981 for an avant-garde theatre piece but only now seeing the light of day, Symphonic Songs finds Grippe marrying atonal Buchla experiments with a string section equal-parts Schnittke and Schoenberg. Artwork by Ascetic House founder J.S. Aurelius.

There are still so many treasures to be discovered out there, but once you find a gem like this you can definitely put the research on hold for a little while and give it a deep listen. Recorded at Fono Roma in 1971, Eroina is a series of haunting improvisations - each one inspired by the effects of a different drug - made of whirling electronic glitches, skronky horns, pounded piano, funky drums and weird tape experiments delivering the best drone/spaced/drugged out free jazz performed by the legendary ensemble of Ennio Morricone, Mario Bertoncini, Egisto Macchi, Battisti D'Amario, Franco Evangelisti and Walter Bianchi. A timeless masterpiece.

Second edition of 300 copies with slightly different artwork; the sleeve has a different colour, a spelling error on the back sleeve has been corrected, the labels are different and there is another picture on the back sleeve. Released with kind permission of Brigitte Morton / Henri Chopin Estate.

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.

The distributor is already sold out! Gruppo di Improvvisazione Nuova Consonanza, a legendary music group that led the improvisational / experimental music scene of the 1960s from Italy, along with the legendary Musica Elettronica Viva, formed in Rome in 1964 under the leadership of pianist Franco Evangelisti. The masterpiece "Nuova Consonanza" released in 1975 is the first vinyl reprint in history with a luxurious booklet! Reissue with a completely new remastering specification from the newly discovered original tape. Limited edition with a 12-page luxury 30 "x30" booklet with unpublished photos, texts and essays. A masterpiece that can be said to be a new starting point in history or a major frontier at the end of the music of improvisation. It's really amazing !! New remastering from the original tape & 180G heavy board specification. Limited to 400 sheets. Don't miss this opportunity as the original is almost unavailable at the moment!

A masterpiece of sock jackets that became a trademark !! The famous experimental rock band Henry Cow's 1st album in 1973 by Fred Frith and Tim Hodgkinson !! The reissue from the home base [ReR] is finally repressed this year. !! A great lifeline leading to "Rock In Opposition". With the tremendous influence of pioneers such as Soft Machine and Frank Zappa as the undercurrent, Avant Rock has been elaborated with unparalleled precision. There is no arrogant arrangement, and the mystery of free-form improvisation explodes without being disturbed. Definitely one of the best in the Canterbury scene. If you haven't experienced it yet!

J.P.A. Falzone and Morgan Evans-Weiler have been working together since 2016 in the famous ensemble "Ordinary Affects" of the Weindelweiser school. A 2-CD set containing the feature films composed individually by each is released from the famous place ! In January 19 at the Wesleyan University Memorial Chapel at the Liberal Arts University in Middletown, Connecticut, by Luke Damrosch, who is known for engineering works around Van der Weiser and co-writing with Alan Sondheim and José James. A recorded work. Both the string drone minimalist Morgan Evans-Weiler side, which accelerates isolation in the void, the melancholy piano and violin, and the JPA Falzone side, where the pointillistic sound of the vibraphone gives off a dull beauty. A very enigmatic chamber music work that makes you feel even the taste of Japanese loneliness while suppressing the number of sounds. It's ridiculously wonderful!