Electronic / Experimental

The trio of Moritz von Oswald, Max Loderbauer (NSI / Sun Electric) and Sasu Ripatti (Vladislav Delay / Luomo), with a third album, this time enriched and expanded by guitar contributions from Paul St Hilaire (also known as Tikiman), and double bass courtesy of Marc Muellbauer (via ECM).

Horizontal Structures is palpably a more open, more expressive album than the previous studio recording, Vertical Ascent. There is more contrast, more light and shade. St Hilaire and Muellbauer add fresh drama and swing to the intimate tonal and rhythmic interactions of the core grouping. The coherence of the five-piece is remarkable; the boundary between acoustic and electronic undone.

The group’s evolution is firmly signalled in the opener, Structure 1. There’s a lush, romantic quality to the playing and arrangement that we’ve not heard before: the guitar licks have a bluesy lilt, the bass imparts melody as well as physical presence, the synth sequences are more painterly, looser somehow, and Ripatti’s percussion roams feelingly. Structure 2 is like 70s spy-flick jazz or groove-heavy Krautrock stripped to its barest essence, Loderbauer and von Oswald’s electronics glistening in a sticky cobweb of reverb and delay. The languidly stepping Structure 3 faintly recalls von Oswald’s work with Mark Ernestus as Rhythm And Sound, with St Hilaire’s chords hanging thick above bone-dry drum machine drift. Lastly, Structure 4, the track structurally closest to techno, is pervaded by a sense of mischief, with Muellbauer’s strings — plucked, bowed, scraped — coming to the fore.

For all its complexity, this is also a very playful album, and the Trio’s increased confidence and empathy as improvisers allow them to indulge flights of percussive fancy, sudden about-turns, vectors into the unknown. Horizontal Structures sounds, above all else, free.

捻くれ者のインダストリアル・テクノから退廃的なノイズ・ロックを交錯させながら、レイヴの解体を試みてきたテキサス拠点のCraig Clouseによる名プロジェクトShit & Shineによる2024年度最新アルバム『Joy Of Joys』が、フィレンツェ拠点のカルト・エクスペリメンタル・レーベル〈OOH-sounds〉よりアナログ・リリース！〈LAFMS〉の脱線的な前衛音楽から初期〈Mego〉のバッド・デジタリア、Wolf Eyesファミリーのノー・ブローな熱狂、〈Chocolate Monk〉のマイクロDIYのエトスまで、あらゆる文脈やジャンルの規律から一歩踏み出し、新たな音の軌跡を刻むS&Sのサウンドの美学とエッジが余す所なく詰め込まれた、アブストラクトかつ野性的な仕上がりの怪作！名手Giuseppe Ielasiの手によりマスタリング。限定200部。

"Every day, the skies of New York City fill up with unseen clouds of radio signals spreading over immigrant neighborhoods. These culturally charged clouds of radio energy burst with a flow of content that continually shifts and transforms, following the lifecycle and rhythm of the streets. In Brooklyn, the signals alight on Flatbush Avenue, blasting from radios in dollar vans, bakeries, churches and on street corners and kitchen tables. By accessing an analog technology that (outside of the radio itself) is essentially free for the listener, economically marginalized communities avoid the subscription and data fees built in to the conveniences of the digital life. Listeners, often the elders of the community, extend metal antennas and position the radios just so, trying to catch the elusive vibrations of crucial music, news and information that are seldom felt in New York City’s legal and mostly corporate owned media soundscape. In Flatbush, stations broadcast primarily to Haitians, Jamaicans, Trinidadians, Grenadians and Orthodox Jews. The Haitian stations are particularly active in East Flatbush with just under a dozen broadcasting daily in Kreyol to the large Haitian community. “I came across it at a very young age. There was this really popular station back in the late 80s, Radio Guinee, and it was based in Brooklyn.” says Joan Martinez, a young Haitian-American born in the US and a former program host on some of the unlicensed Kreyol language stations. “Nobody knows where it was, there are suspicions. But all I know is from Friday night all the way to Sunday night, you would just hear a series of these stations every weekend and it would be the place where you could listen to the latest in Haitian pop music, rap music. It was also the news, my parents and their friends would all sit around the radio and they would just be politicking in the living room getting really loud, you know, dancing, singing along that sort of thing. It was just like a meeting ground and the radio was guiding it.” This phase of New York City pirate radio rose from the ashes of a previous scene dating to the late sixties: a dozen or so stations sporadically run mostly by white teenagers: a mix of hippies, radicals and electronically inclined misfits. By 1987, this loose collective of friends and rivals devolved into infighting after a short-lived attempt to broadcast from international waters off Jones Beach. This created room for new pirate radio voices from diverse communities that were increasingly being pushed off the legal airwaves by high costs, format consolidation, and “the low power desert”, an FCC-led phaseout of small community broadcasters. The local pirates joined a growing national wave of progressive pirate radio activity taking advantage of a new generation of cheap FM transmitters imported from China or home-brewed in makeshift workshops by free radio activists. By the early 90’s, immigrant community-focused broadcasters In New York City flipped the unspoken rules of the earlier pirates who broadcast mainly late at night on a few pre-determined “safe” frequencies, instead filling the FM dial from bottom to top, day and night. In 2000, under pressure from a nationwide increase in pirate radio activity, the FCC introduced a new license class: Low Power FM (LPFM) but opposition from National Public Radio and the National Association of Broadcasters shut down the issuing of new licenses. That severely limited LPFM’s availability in major urban markets due to rules requiring LPFM’s to be “three click aways” from existing stations. Local pirates felt they had no alternative but to continue broadcasting and some stations in Flatbush have been on the air for decades. Despite the passage of the Local Community Radio Act in 2011, opening a new licensing window with relaxed spacing requirements, few new frequencies were available in NYC due to an already crowded dial. The continued pirate presence is enabled by a sort of safety in numbers, an FCC enforcement team hampered by a low budget and a bureaucratic process of enforcement. Interference aside, FCC commissioners and staff publicly fume at the pirates for a range of potential public safety violations, some more theoretical than others and claim they are somehow harming their own communities, and wonder finally, why don’t they just stream on the internet. By viewing radio piracy purely from a legal perspective, critics miss the cultural and historic forces driving the Haitian pirates. During the Duvalier dictatorship (1957-1986) Haitians had access to only two stations broadcasting in Kreyol, rather than French, the language of the elite. One was Radio Lumiere, a religious station and the other Radio Haiti-Inter, a fiercely independent voice whose director Jean Dominque was assassinated in 1999. “The peasant in Haiti, while he’s working on his farm you know he had a transistor.” Says Dr. Jean Eddy St. Paul, Director of the Haitian Studies Institute at the City University of New York. ‘And many peasants, they don’t have money to buy tobacco to smoke, but they will have money to buy the battery to put in the transistor. The first generation of migration, in the US, was during the 1960s and for many of those people the culture of transistor was part of their everyday life, so they’re still maintaining the culture of transistor. For them, having a radio station is very important.’ In July 2019, on a side street in East Flatbush, I met a man calling himself “Joseph” aka “Haitian” (“because I’m a pure Haitian!”), part of a group that keeps Radio Comedy FM on the air. “There’s no owners and committee. It’s a bunch of young guys”. Joseph says, “We have to do something positive for our community. Right now the Marines are in Haiti and we don’t know what’s next! CNN don’t show you this! BBC don’t show you this! So what we do, we have people in Haiti that call us and tell us what’s going on and will send us pictures. This is how we get our information. And bring it to the people…. I have family over there, my mother’s still there. So I have to know what’s going on. At this point in the digital age, it’s an open question how long these analog pirate stations will remain relevant, as their audiences age, neighborhoods gentrify and younger listeners gravitate to social media platforms. The answer seems to lie with their elderly and impoverished listeners. “They don’t have enough money to buy the newspapers understand?.” Joseph says.” For him that makes it worth it to keep Radio Comedy on the air despite a crackdown from the FCC backed by the PIRATE Act signed into law in 2020 that increases fines to $100,000 a day up to $2 million. But the legislation lacks funding to enforce the new regulations. With a federal statute still in place reducing fines down to the ability to pay, it’s unclear whether the PIRATE Act will be anything more than another in an escalating series of scare tactics. Though the FCC has recently suggested the possibility of a new round of LPFM licenses in the future, the already crowded nature of NYC’s FM band makes it unlikely that new frequencies will be made available to the current pirate stations. In addition the FCC doesn’t want to be seen as rewarding illegal activity by granting a license to former pirate broadcasters, which was a prohibition in LPFM’s earlier licensing periods. And for the moment, Joseph, who’s been running unlicensed stations since 1991 (‘it’s an addiction’) is equally unlikely to cede the airwaves. He sees Radio Comedy as not just a radio station, but a community lifeline. “You know many children we save? There was a bunch of guys…Jamaican, Trinidadian, Haitian trying to form a gang. We talked to them, bring them to the station. Most of them have a diploma now. Without the radio, most of them probably get locked up or dead.” Even with the PIRATE act on the books, the number of stations on the air in Brooklyn has remained steady with an average of about 25 per day and the advent of the Coronavirus pandemic has only sharpened their mission. In March 2020 as the spread of Covid-19 lead to NYC’s lockdown, the unlicensed Haitian broadcasters and the other West Indian stations in Brooklyn took a step closer to their listeners, increasing their air time and enhancing their formats to deliver information about the virus both in New York and in their countries of origin amid the heavy toll it took on the community."

Originally made as a contribution to the Blowing Up The Workshop mix series, subsequently given a cassette release in 2019, now finally receiving a limited vinyl LP pressing. "A trip across the frequencies of Bristol's pirate radio stations via cut-ups of broadcasts, taken from the late 1980s to the early 2000s ~ also a love-letter to my childhood, an audio document of the years I spent growing up in the city."

best japanese jazz pianist “fumio itabashi”,german house producer “henrik schwarz”,
one of best japanese electronic music producer “kuniyuki” made the re-recording of
japanese jazz classic “watarase” together in japan few years ago.
they have played together at montreux jazz festival in tokyo and everyone thought we should make the record together.
now finally we’re going to release this excellent record.
henrik schwarz and kuniyuki made the own version.
the musics are simply gorgeous!

Black Truffle is pleased to announce Symphony No. 107 –The Bard, a previously unheard archival recording of the legendary improvising ensemble MEV (Musica Elettronica Viva), captured in concert at Bard College, New York in 2012. Formed by a group of American expat composers in Rome in 1966, the MEV ensemble played an important role in the development of free improvisation, bridging the live electronics tradition begun by Cage and Tudor and the high-energy squall of free jazz. Early recordings like Spacecraft or The Sound Pool unleash volleys of metal and glass amplified with contact microphones, howling winds, primitive synthesizer bleep and raucous audience participation, the intensity of which puts much later ‘noise’ to shame. In later decades, the ensemble would go through many iterations, often including legendary free players like Steve Lacy and George Lewis. In its final years, MEV settled into the core trio of founding members heard here: Alvin Curran, Frederic Rzewski, and Richard Teitelbaum, using piano, electronics, and small instruments. Curran, Rzewski, and Teitelbaum were life-long friends blessed, as Curran says, with ‘incompatible personalities’: major figures in the post-Cagean experimental tradition, they explored countless divergent and even contradictory paths as composers and performers, from agitprop songs to brainwave-controlled synthesis. MEV is the sound of these three personalities coming together, their contributions radically individual yet attaining a state of ‘fundamental unity’ that Rzewski, in a text written in the collective’s earliest years, defined as the ‘final goal of improvisation’. Of course, listeners familiar with aspect of the trio’s individual works might hazard some guesses about who is doing what: the crisp piano figures are probably Rzewski’s, the cut-up hip-hop samples most likely Curran’s, the sliding, squelching synth possibly Teitelbaum’s. But often these identities are dissolved in a constantly shifting hall of mirrors, the listener unable to tell which of these pianos is live and which is a sample of a past virtuoso, or whether a horn blast derives from ethnographic documentation or Curran cutting loose on Shofar. The two side-long sets here occupy a similar terrain of constantly shifting texture and instrumentation, unexpected interruptions, and moments of sudden beauty. The first set is sparser, at times almost ominous, as a bell repeatedly sounds across wheezing harmonica, seasick orchestral textures, and creaking wood, making room for episodes of yodelling and delicate prepared piano before exploding into a storm of buzzing synth and piano fragments. The second set is more frenetic, moving rapidly across centuries and continents: cars crash into post-serial piano pointillism, wailing voices collide with chopped and screwed hip-hop samples, Hollywood strings are buried under layers of electronic gurgles. The performance slows in its final moments, making way for a sampled voice repeating the phrase ‘protest and the good of the world’, reminding us that MEV’s idea of freedom was always more than musical. Symphony No. 107 –The Bard is a beautifully recorded example of the endlessly multi-layered later MEV sound, accompanied by new liner notes by Alvin Curran (now the only surviving member of the group) and a selection of previously unseen photographs from across the many decades of the group’s activity. Arriving in an elegant sleeve bearing a beautiful photograph by Francis Zhou of the Olin Hall at Bard College where the concert was recorded, this is an essential document from a major group in the history of experimental music. As Rzewski wrote, this music is ‘like life, unpredictable, sometimes making sense, mostly not’.

Terry Riley, known for his masterpieces such as "A Rainbow in Curved Air" and "in C", currently resides in Japan. This is a collection of recordings made in Kobuchizawa, Yamanashi prefecture in the early spring of 2020, before he decided to move to Japan, and released on CD in October 2023.

Dream Walker is an album intended for late nights. For those moments when you are ready to let go of your physical self and transcend momentarily into another world. Dream Walker is also an album about someone who can walk between dreams. One who can surpass the boundaries of reality and slip into unseen worlds. A visitor who is writing a sonic story with every step he takes. Dream Walker is also a love letter to all the music I love. I set out to make something that sounded good to my ears with no preconceptions or limitations, so it wears its influences on its sleeve. When you listen, if you start to feel like you know, then you know. Every sound was made with hardware, mostly synthesizers, in 2023. It is also true that it was made by attempting to enter a trance state while recording each of these tracks and letting the subconscious take control to put a touch of otherness in the mix. And that is that. I hope you enjoy this record. It was always intended to end in this form and to find a way into your ears. Believe Walker, believe. –Carlos Giffoni, November 2023

Now issued on LP for the first time, the aforementioned cassette, Cold Drinks, Hot Dreams, is an exhilarating live recording documenting the core group plus double-bassist Claudio Enriquez performing in 1980—an expansive improvised journey marked by contrasting moments of explosive heat and cool hypnotic calm. Atrás skilfully lead the listener through this varied terrain, drawing seamlessly on their experiences of the New York loft scene, classical pianism, and the surrealistic theatrics of Alejandro Jodorowsky. Ruiz’s distinctive sound—recalling Cecil Taylor’s percussive touch, Mal Waldron’s blues minimalism, and Horace Tapscott’s meditative radiance, but remaining entirely her own—holds the session from first to last. Evry Mann’s broad palette of percussion adds a welcome element of surprise to the proceedings, enriching the music with a graceful balafon solo, sonorous hand drums, and bursts of high octane trap set playing. Henry West’s saxophone rides high throughout, weaving around the ensemble with a fierce elegance. Now finally available after forty years, the music of Átras del Cosmos will be sure to captivate spiritual jazz veterans and newcomers alike.

For Anyone That Knows You, an album of mostly piano solos by Josiah Steinbrick, was recorded not for smoothness or posterity but to emphasize the piano as object, the person playing it, and the moment it sounds. On three of the pieces, the saxophone of Sam Gendel hovers over the piano like a faint change in the light, adding resonance and gentle reinforcement rather than counterpoint. Three others are delicate renditions: “Green Glass” interprets an untitled recording by Quechuan folk musicians Leandro Apaza Romas and Benjamin Clara Quispe; “Elyne Road” abbreviates one of Malian kora master Toumani Diabaté’s most tender compositions; and “Lullaby” is an arrangement of a traditional Creole song, originally recorded in 1954 by the Haitian-American guitarist Frantz Casseus.

Marina Herlop is often described as a pianist, a lingering remnant of her classical training. But what strikes the listener on Herlop’s breakout track miu is the intricate trickery of her voice, tracing rhythmical clusters around the subtlest of musical beds, in a technique inspired by Carnatic music of Southern India. miu, the opening track of Herlop’s new studio album Pripyat, was among the first songs that the young Catalan artist made on a computer, after two albums - 2016’s Nanook and 2018’s Babasha - that brought spectral elegance to the sound of piano and voice. This spirit of adventure continues into Pripyat, Herlop’s first full album produced on a computer, and her most intensely emotional work to date. Listening to Pripyat you can feel the emotional toil and creative endeavour that went into the record. Fans of Nanook and Babasha will recognise the combination of melancholic piano and elegant vocal lines that is found on Pripyat tracks like abans abans. But Pripyat has a far fuller, almost chaotic sound when compared to Herlop’s previous work, with the addition of electronic drums, electric bass lines and a wealth of sublime production effects. Added to this production expertise are songs of incredible grace and poise. Kaddisch is a spectral torch song rendered in emotional 3D by Herlop’s gorgeous voice; ubuntu has a feeling of deep longing and lingering sorrow; and shaolin mantis is like a pop song refracted through disorienting production effects and percussive vocal cut ups. Pripyat is the perfect combination of computer production trickery and intimate emotional release.

At only 19 years old, Dar Es Salaam's DJ Travella represents a new wave of singeli producers who are driving Tanzania's breakneck dance sound into fresh, innovative spaces. Unaffiliated with any of the well-known studios like Sisso and Pamoja, Hamadi Hassani's music points singeli's fusion of taraab and techno towards the stars, locating a cyber-singeli style that's dense, kinetic and unashamedly sexy. Hassani started producing at 15, and a few years later his debut is a jagged set of hi-nrg dance music that pulls influence from across the globe, folding together elements of dembow, rave, R&B, and trap. But nothing's straightforward: opening track 'Crazy Beat Music Umeme 2' juxtaposes grinding 200bpm rhythmic intensity with urgent plucked strings, sounding like Timbaland conjuring a Thunderdome soundtrack for a Tanzanian street party. 'Crazy Beat Music Umeme 4' is even more barbed, with neon rave synths and hand-jammed percussion that's one part 808 Mafia and one part DJ Diaki. On 'London Bandcamp', Travella meshes hi-speed singeli backbeats with downtempo dembow kicks, squeezing out unexpected sleaze in the process, while on 'London Uwoteeee' there's an almost romantic sparkle, with ethereal vocals draped across woodblock cracks and whistles. But Travella sounds most nimble when giving the nod to Atlanta, and his merging of earworm synth hooks and neck-snapping East African rhythms on tracks like 'London Jomon Beat' will leave no doubt that the young producer is capable of bending singeli completely to his will.

Ghost Funk Orchestra are a mystery. Plain and simple. Dirty, soulful production, verbed and fuzzed out guitars, mysterious vocals that feel like a lost score to a Quentin Tarantino film. The brainchild of one-man producer/musician/arranger Seth Applebaum, GFO is forging new territory and blurring the line between soul and psychedelic. We are uber-proud to present their first full-length effort for our Karma Chief label imprint. This is just the tip of the iceberg for this group, already well into producing their follow up LP, this is a group we truly believe will become a prolific force in the modern psychedelic scene.

“All of humanity's problems stem from man's inability to sit quietly in a room alone.” —Pascal Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001)—recorded between Folkestone and Miami—Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter. If it ain’t broke don’t fix it.

Blank Forms, a curatorial platform and non-profit organization dedicated to the presentation and preservation of experimental performance, is proud to announce the arrival of its latest collection of works by Catherine Christer Hennix and Masayuki Takayanagi. Don Cherry (1936-1995), a pioneer of free jazz as the right-hand man of Ornette Coleman, and his wife, Swedish visual artist/designer Moki Cherry (1943-2009), have been attracting attention for their collaborations with Coltrane. Don's music, Moki's art, and the family's life in the Swedish countryside of Tågarp were integrated into one comprehensive entity in the miraculous reissue of Organic Music Theatre. This reissue features the historic premiere of the piece at the 1972 Festival de Chateauvallon in Chateauvallon, southern France, mastered from tapes recorded during a live broadcast on public television. It is a mastered reissue of a tape recorded live on public television. The performance marked the beginning of a communal and "mystical" period that would culminate in soundtracks and other works. Performing in this outdoor amphitheater were such luminaries as Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos, as well as Swedish friends who accompanied them on their trip to France, and Copenhagen Christiania A dozen or so adults and children participated, including Swedish friends who accompanied me on my trip to France and Det Lilla Circus (The Little Circus), a Danish puppet theater based in Copenhagen Christiania. It was truly a breathtaking sound world!

Reissue of Celer's 2008 masterpiece. Remastered by Stephan Matieu.

Doc Lloyd Miller returns with his signature and timeless Spiritual Jazz and World/Cultural Music trademarks, as well as inviting a few contemporary sensibilities contributed by himself and collaborators Ian Camp and producer Adam Michael Terry. Expanding upon Miller's distinctive Academic, Persian and Far-Eastern Jazz Fusion into territories of New Age, Minimalism, Modern Classical, Ambient, and even hints of Psychedelic Folk with the opening song "The Summoning". Proudly extending Lloyd's already unique and massive music pallet that has been documented on his esoteric 60's records and self-released CDs over the decades, we anticipate his fans around the world will be pleased to hear familiar stylings as well as some evolved ideas.

Recorded late summer 2019 down in Lloyd Miller's basement, "At the Ends of the World" is a prophetic expression of the social and cerebral atmospheres that Miller personally predicted for the pestilence of 2020. The album reflects a moody dichotomy between the increasingly doomed world and the musician's attempts to heal with divine music and cultural beauty
credits
releases November 6, 2020

On the occasion of RT 30 (the celebrations of Right Tempo's thirty years of activity) the Italian record company has decided, among other things, to publish a new volume of this successful series. The Easy Tempo series, born in 1996, aimed to disseminate a sound linked to black culture (in its broadest meaning and most varied forms) with contaminations ranging from psychedelia to vintage electronics through soul, funk and jazz. Having drawn from the world of soundtracks did not arise from a specific passion in this area, but from the simple fact that that universe offered a vast repertoire, however submerged, of music suitable for the 'groove' vocation of Right Tempo, as well as a distinctive sign of national identity, considering the caliber of the composers and musicians involved in writing and performing the music featured in the different tracking lists of the series. To this respect, starting from Volume 11 that you are holding in your hand, Easy Tempo will expand its editorial horizons, including tracks taken from obscure, underrated and/or hard to find records that transcend the congested world of soundtracks. It should also be emphasized that, given the label international vocation, the repertoire from which we will draw will no longer be limited to Italian record production, but will have a global perspective. The sound journey you are about to embark on is steeped in soul, funk, jazz, Latin, psychedelia, with a pinch of electronics at times. Travelling flutes, tight and driving rhythm patterns and rich and colorful arrangements perfectly indicate Easy Tempo series new direction. The most intriguing and ubiquitous aspect is particularly incisive thanks to the "cinematic" cut given to the selection. We believe, upon a first check of the musical content, that this new chapter will meet the expectations of all those who have enjoyed the ten previous volumes of this collection of sounds and emotions over time. Enjoy Easy Tempo Volume 11. Features Roberto Pregadio, Soul's Soul, Orchestra Mustang, Genius, Gianni Marchetti, I Raffazzonati, Brooklyn Bridge Group, Hugh Bullen, Carlo Cordara e i Waterloo, Les Chakachas, Le Streghe, Ninety, Lara Saint Paul, Ivano Fossati, Sandro Brugnolini, Gianni Basso Quartet, Enzo Scoppa, Gino Marinacci, and The Gypsy-Gershwin Medley.

A raid on the values of oriental jazz master and pioneering ethnomusicologist Lloyd Miller. As we’ve said before on the rare encounters we’ve had with Miller’s work, he’s quite a unique figure within the worlds of jazz, traditional Middle-Eastern folk and musicology. Few in history seem to be so heavily embedded within local music scenes and have been capable of absorbing so much from their surroundings. His original works (almost all self-released) are extremely hard to find and are pretty much out of reach for most. This double LP ‘Orientations’ is really what we’ve been longing for though. With unrestricted access to Dr Miller’s archives, local Utah label FOUNTAINavm have combed through previously unreleased recordings from the early 60’s to the early 00’s, capturing the breadth and scale of this unique artist. The cultural clash between east and west underpins each piece, where Miller’s astonishing dexterity on at least 15 different non-western instruments is infused with European Jazz standards. Like listening back in time, the fragrant humid air of the old orient hangs heavy in the atmosphere, capturing a time of great change in the area where the osmosis of culture between East and West would really take off, not without its problems. But these are recordings we keep coming back to, like the lilting romance of piano piece ‘Shahin’ recorded in early 70’s Tehran, or the hypnotic South Indian inspired Carnatic Clarinet from 1960’s. Miller’s work exists at an interesting historical intersection where jazz, folk, spiritual and documentary aspects of music all overlap. (Mint / New - heavy 2LP gatefold). This double LP album is sourced from Lloyd Miller’s personal archives of masters and personal recordings. Archival, Curation, and Tape Transfers by Adam Michael Terry.

Bent Lorentzen is widely considered one of the key figures and pioneers of early Danish electronic music and he was one of a few classically trained composers seeking out the possibilities of the new technology in the 1960’s. Lorentzen composed a fairly large number of electronic works, – mainly in the 60's and 70'es. Furthermore, he developed a significant educational practice in and around electronic music, conducted workshops, taught at courses, and published articles in both national and international journals, while also producing several educational records on electronic music.

'Electronic Music' was originally released in 1987 as a retrospective album, collecting three of Bent Lorentzen's electronic works from the 70'es. The three works clearly demonstrate Lorentzen’s close familiarity with his equipment and his great technical proficiency regarding the creation and manipulation of all sorts of electronic and recorded acoustic sounds – typically in the form of speed changes, reversed sounds, and reverb and filter effects. The music is often quite dramatic with distinct narratives and multiple dynamic layers of sound, but still with a clear sense of disposition and restraint, possibly stemming from Lorentzen’s experience with classical instrumentation, and orchestration.

'The Bottomless Pit' (originally Afgrundens brønd) on side A was composed as the musical score for a ballet by the Norwegian dance company Høvik Ballett, commissioned by NOMUS (Nordic Music Commitee) and staged at Henie Onstad Kunstsenter in Oslo during the Nordic Music Days festival in 1972. The piece was originally composed for four channels, but mixed down to stereo for the 1987 release.

Side B’s 'Visions' (originally Visione) and 'Cloud-Drift '(originally NUBES) were also both composed as 4-channel works. The back of the original LP-sleeve contains small prints of graphic notations accompanying the two compositions, here reproduced in enlarged versions for better readability.

The music on the record has been carefully remastered for this reissue. The Bottomless Pit and Visions are new stereo mixes made from 4-channel versions obtained from Gunner Møller Pedersen’s private archive. These versions had much more clarity, detail, and depth than other masters we were able to find. The mix from four channels to stereo has been done with careful regard to how the stereo versions appear on the original record. Cloud-Drift was not to be found in its 4-channel version, but comes from the master tape for the 1987 release from OH Musik / Point Records. This piece appears a bit rougher and with less detail in the higher frequencies, but it is the exact same version, as the one on the original release from 1987. 

Over a year since the release of their exhilarating debut Could We Be More, Kokoroko present a new collection of remixes of tracks from their first album. The record brings together a dizzying, globe-spanning array of contemporary music’s most forward-thinking artists, each bringing their own unique identity to the project while maintaining the immersive sound-world of the original. Could We Be More Remixes is due 10th November 2023 via Gilles Peterson’s Brownswood Recordings. All the remixers share a common approach with the band, filtering global influences and backgrounds through the lens of their hometown. As a result, each remix explores and stretches the core elements of the debut in different ways. Home-grown London talents Eun and Demae, both associates of the Touching Bass collective that sprouted from the same scene as Kokoroko, turn in a spaced-out version of ‘Tojo’ that manages to be introspective and driving at the same time, reminiscent of some of the best work on Moodymann’s imprints. The talents of Could We Be More’s producer are called upon next. Miles James continues where ‘Something’s Going On’ left off, turning the synth-funk up several notches. To call anaiis’ version of ‘Home’ a remix would almost be an understatement. Anaiis uses the original as a launchpad, her soaring vocals taking the song’s sentiments to dizzying new heights. The toe-tapping Highlife groove of ‘Ewà Inú’ is twisted into a lurching Batida stepper by Vanyfox that skews expectations and stumbles the listener into a blissful trumpet-led ambient outro.This is followed by Washington-native dreamcastmoe’s take on the track. His version defies genre, scattering fragments of the original, soulful vocals and chords over a heavy 808 bass chug. ‘We Give Thanks (KeiyaA Remix)’ sees the Chicago-based multi-hyphenate mining the depths of the sparse skittering cyber-soul elements that were a feature of her own debut. Kokoroko’s organic vocals and instrumentation are tied down to a bedrock of icy drum machines, handclaps and electronics resulting in a scintillating frisson. The final two artists on the record submit remixes along more traditional lines. Ash Lauryn and Stefan Ringer twist and reform the angelic vocals and Afrobeats sentiments of ‘Dide O’ into a driving deep house banger; the floating melodic refrain suspended over a rolling synth bass and propulsive drums. Finally, London producer of the moment Hagan does what he does best. In his hands, ‘War Dance’ transforms into a dark and moody afro-house dance floor weapon. Ominous pads, a monstrous bass-line and hectic percussion combine with the song’s fiery brass culminating into a climactic breakdown built around Sheila Maurice-Grey’s explosive trumpet solo. Could We Be More was an ambitious and expansive album. Stretched out over 15 tracks, Kokoroko’s debut release wove together Afro-beat jam-outs, funk grooves, psychedelic flutters, brass stabs and soaring soul with dub-echo, astral electronics and introverted interludes. All combining to create an immersive experience evoking the band’s multi-faceted notions of home. This is a beautiful sister release to Kokoroko’s Could We Be More. The remixes treat the source material with care but imbue them with a potent energy, strangely reminiscent of seeing the band perform live. This collection follows the album and achieves what few remix albums are able to; creating a headphone listening experience while at the same time drawing out the dance music elements for the club. Could We Be More Remixes is due 10th November 2023 via Brownswood Recordings.

We're excited to bring you this collaboration between Spanish Producer Nueen and Manc vocalist / rapper Iceboy Violet, who has previously sprinkled their magic dust across Hyperdub releases from aya and Loraine James. The album traces the arc of a four year relationship, In Iceboy's words - 'fondly memorialising its highs and documenting its lows, trying to process and reflect positively and then ending with the ecstatic but ominous spark of new love.' Between them they've made an album that's magical, intimate and heartfelt, sometimes anguished but ultimately re-enchanting.

Iceboy and Nueen mutually admired their like-minded approach to making ambient music on recent solo releases and started swapping ideas for collaboration. Nueen sent beats at an almost overwhelming rate, which matched the speed and sharpness of Iceboy's emotions while they processed the end of the aforementioned relationship, creating songs which helped them process and navigate through the mental fog. The tracks were finished with Iceboy zooming in and chiselling the details, all finished in 3 months.

Nueen's music responds with foggy, but richly detailed grainy production. There are Smudgy, drill-laced beats contrasting with curdled, spiralling chords and at times he seems to isolate elements from Burial's palette and intensifies them, like SM FID's fire-like crackles. At other times, he draws out a malevolent ambience which feels elemental and troubling like on Cement Skin. Friends and collaborators switched up some of these songs, with artist Harriet Morley as the first voice on the album and Dawuna adding their rugged silky background vocals around Still's descriptions of black hair braiding and lives intimately intertwined. The album's final track, Kiss Me Again is blessed with young Manchester singer Bennettiscoming as a softening foil to Iceboy's coarse rapture.
You Said You'd Hold My Hand Through The Fire is an immensely affecting and lucid album, powerfully wrought and ultimately hopeful. 

Following the unpublished works of the Ukrainian/Estonian musician Valentina Goncharova, Volume 2 of Shukai’s archival project sits in direct contrast to the solo works of Vol. 1. Spending her youth studying classical music first in Kyiv and then in Leningrad, Valentina began her musical career with rigorous compositional study and concert violin performance. This long player of duets as such casts a light on Goncharova’s experiences with early free jazz, democratic improvisation and introductions to pure electronic sound. Where Vol. 1 explored her home studio experiments and flirtations with musique concrete and new age, this volume seeks to give audience to similarly DIY recordings developed in collaborative environments away from the conservatoire. Properly documenting sessions revolving around smoky jazz cafes, art galleries, salons and theatre venues across Riga and Tallinn, these seven pieces add to the historical narrative of the soviet era avant-garde and show the broader spectrum of Valentina’s work. We begin in Riga with an adapted score for a delicately unfolding violin drone, voice and saxophone performance produced by Valentina and Alexander Aksenov. Describing the nineties as temporarily narrowing the content of cultural life and thus nullifying the interest of free improvisation in both Tallinn and Riga, Valetina’s bond with the multi-instrumentalist and theatre director Aksenov led to decades of close friendship and several demo recordings such as ‘Reincarnation II’. Their initial chance meeting at a jam session set in motion various cross-country performances and experimental theatre works. With its focus on extended harmony, it is perhaps ‘Reincarnation II’ that most recognisably follows on from Shukai’s first volume. Across the rest of the disc are collaborative duets with Sergei Letov and Pekka Airaksinan respectively, the three tapes with Letov an example of recordings as a ‘rehearsal process’. These evenings spent in Moscow apartments and St. Petersburg art studios challenged Goncharova’s preconceptions of musical expression; “I was surprised by his (Letov’s) artistic language. He composed here and now music that was so intellectually advanced that it was quite comparable to the compositions of my fellow students. Only, to achieve such a result, it took months for them. So, for the first time, I took part in free jazz collective creativity” (2020). Atypical violin/saxophone techniques and light, difficult to place percussive textures interplay across the three duets with Letov, the sense of spatiality alluding to the very nature of the recordings. They strike ultimately as private, freeform experiments with sound, never intended for the listener but documenting a practice which explores the dichotomy of improv’s ‘non-professionalism’ and its potential freedom from trained performance. Just one curious corner of Valentina’s musical path, they are included as a deliberate variance to the tapes with Pekka Airaksinen, an already well-regarded composer, early synthesiser fanatic and Finnish radical. At their time of meeting, Pekka had diverted his attention from punk-indebted noise and free jazz groups to a pursuit of spiritualism via contemporary electronic technologies. Already familiar with the ‘Buddhas of Golden Light’ LP, Valentina found in his work an attraction to the sacred and, after an encounter at a 1988 Helsinki festival dedicated to futurist art and literature, she prepared to visit his studio. After a failed attempt to record a joint album, fragments of the tapes are presented here, highlighting Goncharova’s first real experience of electronic music making in a compositional sense. The result is a marriage of stunning organ tones, processed violin murmurs and progressive minimalism a la Terry Riley or La Monte Young. Fragmented guitar and additional keyboard patterns push and pull through delay units in unison with Valentina’s two violins, at times mimicking the howl of the wind or even the human voice. Once again, the duality of the indistinguishable unfamiliar vs. the harmonic familiar. Recordings 1987-1991 Vol. 2 completes Shukai’s dive into the sound world of an important yet overlooked artist working within Soviet era electroacoustics.

Historically informed violin player, prize-winning street musician, new age experimentalist, chamber ensemble performer and conservatoire deviant. The career of Valentina Goncharova (b. Kyiv 1953) shares parallels with those associated with the broader new music movement of the 20th century and the dissemination of home recording technologies. Valentina’s was a youth spent immersed in the world of classical music study under soviet rule, first in Kyiv and later in Leningrad (now St. Petersburg) from the age of 16. With the supervision of professors M. Vayman and B. Gutnikov she learned concert violin and developed alternate playing styles alongside skilled pianists. A student of the Leningrad conservatoire during the years 1969 through to 1983, her repertoire included music for violin and later expanded to contemporary music composition. The improvisatory nature of free jazz and then budding experimental rock circles also intrigued Valentina during this period in Leningrad. Departing from the rules of the conservatoire, she briefly performed in underground rock clubs alongside future members of the industrial group Pop- Mechanika (Popular Mechanics). This perpetual state of flux is central to the variety found within ‘Recordings Vol. 1’, though as opposed to any degree of uncertainty Valentina’s practice is one in flux by way of earnest curiosity. Pushing further into an exploration of solo electro-acoustic sounds, she took to home taping on a modified Olimp reel to reel recorder. Intrigued by the manipulability of dubbing and the fresh sounds of DIY effects chains, Goncharova developed pickups alongside her husband Igor Zubkov. Her infatuation with the music of Stockhausen, Xenakis, Ganelin Trio and Pierre Boulez channels through considerations of space and erratic sound design, the three movements of ‘Metamorphoses’ embodying this textural approach to musique concrete. The compositional skills developed in Leningrad unfold in the romantic gestures of ‘Higher Frequencies’, whilst manipulated cello combines with synthesise keys across ‘Passageway To Eternity’. The slow, pulsating drone soundscapes recall the likes of Robert Rutman’s US Steel Cello Ensemble or even deep listening pioneer Pauline Oliveros. The juxtaposition of written notation and improvisatory flare is central to Goncha- rova’s sound world. This period of home recording documents a confluence of minimalism, free form and flirtations with new age tropes (inc. bell chimes and cavernous vocal mantras). Experimenting with unusual performance techniques, such as shouting into amplified cello strings, Valentina’s home studio functioned as a place to foster full artistic and creative freedom away from any academic strictures. Relocating to Estonia in 1984, and in parallel to the deeply personal music of ‘Recordings Vol. 1’, Valentina performed at jazz festivals and gave classical concerts across Eastern Europe. In a sense, the recordings on these discs offer only a glimpse into her lifelong body of work. Over the past few decades she has taught at Tallinn Music College, expanded and updated post- Soviet popular music repertoire, collaborated with the Russian Philharmonic Society of Estonia and given concerts and charity events alongside the Catholic Church. Hers is a life dedicated to the exploration of sound, a career forged through careful study and ceaseless intrigue. In a time where technological interconnectedness has allowed for music of the past to be continually mined and evaluated through new lenses, Shukai present an artist whose tendency for private home-taping had allowed recordings to go unheard for thirty years.