MUSIC

Else Marie Pade's Electronic Works 1958-1995 is a heavy duty three LP set which was restored, mastered and cut at Dubplates in Berlin under the watchful ears of curator Jacob Kirkegaard. These monumental works are presented, for the first time, pressed on audiophile grade heavy duty vinyl where they belong. Audiophile grade 3LP is pressed in an edition of 500 copies.

"The sounds outside became concrete music, and in the evening I could imagine that the stars and the moon and the sky uttered sounds and those turned into electronic music." Else Marie Pade

Else Marie Pade (born 1924 in Aarhus, Denmark; currently living in Copenhagen) is a precious golden gem in the world of contemporary electro-acoustic music. She is a true pioneer of Musique Concrete and electronic music recorded on tape. She is Denmarks first lady of electronic music and her piece Syc Cirkler (Seven Circles) became Denmark's first electronic piece to be performed on the radio.

EMP's search for sound began in early childhood when she was isolated in her bed for long periods of time due to illness. There she would lie and listen to the sounds around her just as she did years later when she was imprisoned for spying on Nazi compounds in Arhus. Once released from prison she became a piano student at the Royal Danish Conservatory in Copenhagen but chose to instead pursue the nuances of her inner sound world after hearing Pierre Schaeffer in 1952. She began studying with him not too soon thereafter. Her first electronic composition premiered in 1955.

The second album by the legendary Swiss artist and composer, based in Brazil, Walter Smetak, opened a new field of exploration within his own musical horizon. With the publication of “Smetak” (1974), a musical universe had been defined where Afro-Brazilian ritual traditions, studies of microtonality and open processes of collective improvisation converged, always under the influence of theosophy, which allowed him to generate a personal mythology, a religious-esoteric worldview that served as a framework for the creation of a musical symbolic universe embodied in the construction of more than 150 instruments of his own invention that he called plásticas sonoras.

In “Interregno” (1980), Smetak will radicalize some of these processes. Produced by Carlos Pita, this album features microtonal guitars, performed collectively –another step in the use of unconventional tunings that Smetak had been exploring–, in permanent dialogue with a Yamaha electric organ that assured him the possibility of prolonged sounds. Walter Smetak was a crucial figure in the Brazilian avant-garde and a key part of the cultural climate that made the rise of tropicália possible. Caetano Veloso, Gilberto Gil and Tom Zé were his enthusiastic followers.

The author of one of the most important studies on Smetak, Marco Scarassatti, has written on the work of the Swiss-Brazilian artist: “His original and metaphysical work goes beyond any mysticism created around his figure. He investigated the relationship between sound and light, space and form, microtonality, collective improvisation, as a sound alchemist, a multimedia and unplugged prophet-visionary. While transforming matter, Smetak transformed himself and many of those around him.”

This reissue reproduces the much sought after 1980 edition published by Discos Marcus Pereira. It includes the catalog of instruments used and presents the remastered audio. Limited edition of 500 copies.

This project is part of Incidências Sonoras: COINCIDENCIA experimental music & sound art platform, by the Swiss Arts Council Pro Helvetia.

Already sold out at the box office. A truly intimate and immersive musical experience, Gabrielle Roth is the director and urban shaman who pioneered the concept of contemporary ecstatic dance in the late 1970s. Her group, Gabrielle Roth & The Mirrors, has never been heard beyond the realm of its own, despite selling thousands of albums and releasing many ambitious albums with musicians as diverse as Sun Ra, Pharaoh Sanders, Miles Davis and Stevie Wonder. The Mirrors, a group that has never been heard beyond their 40 years of existence, has released 11 of the most gorgeous songs from their 16 albums on the popular Time Capsule label. A kaleidoscope of ambient music that stimulates the body and liberates the mind, created by Gabrielle Roth, known for her world-famous soundtrack to the dance meditation "Five Rhythms" (1996).

Clear vinyl. This is the miracle of Hawaiian lounge music! The third album "Primitiva" from 1958 by Martin Denny, the undisputed king of exotic fantasy music, is now available as an analog reissue! This is a great masterpiece by the "father of exotica" who was the first to incorporate Asian, Polynesian and Latin music into his own music and broaden the horizons of American audiences. A masterpiece of the century, Primitiva is an imaginative and fascinating space age music with dripping melancholy and exotic and fantastic moods.

A clear vinyl analog reissue of the 1981 masterpiece "Edu & Tom" featuring the collaboration of two of MPB's greatest talents, Edu Lobo and Tom Jobim, who have been working together since the dawn of bossa nova in Brazil. The album is based on the classic repertoire such as "Raining Roses" and "Vento Bravo" and has a timeless appeal.

LA harpist/composer Nailah Hunter has released her latest 12" EP on Leaving! It includes covers of Nan, Donovan's "Guinevere" and Radiohead's "Talk Show Host". The album is a masterpiece of unworldly beauty, blending the spirit of Alice Coltrane, alternative soul music, ambient, new age, and even acid folk! The original bonus song "The Brook" is also included on the vinyl-only version. It's a great piece of work that takes full advantage of the vibrant energy around "Leaving".

This is an officially licensed reissue. This is the 20th anniversary edition of the IDM masterpiece "Slow Motion Process", which Martin Haidinger, who used to run the electronica mecca Toytronic, released under the name Gimmik on Worm Interface in 2001. The album is a masterpiece of crystalline ambience and glitchy noise that crawls on the ground, reminding us of the wisdom of the golden age of electronica and IDM! The analog version includes an additional unreleased track "Typologic" from 1999.

In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange "Zizi" Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn’t have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch ‘Malagasy’. He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the 50s/60s ("Requiem Pour Django", "Dizzy 48", "Anamorphose" here renamed "Salegy Jef" as a nod to an ancestral rhythm reworked in a contemporary style...), and also included more recent tunes ("Newport Bounce" which opens this current album is a reworking of a track called "Interlude", recorded in 69 with the drummer from Miles Davis’ first quintet, Philly Joe Jones). The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, ‘Le Newport’, in rue Grégoire de Tours, Saint Germain des Prés, not far from the ‘Kiosque d'Orphée’ where Gilson worked at the beginning of the 60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time.

A long awaited repress of a very popular album! A sensual and innovative sound that can be called the midpoint of Batu, Farben, Lee Gamble and Isabella! Peder Mannerfelt, a talented artist from Stockholm, Sweden, who has been pushing the boundaries of left-field dance and experimentalism, released an EP on his own Peder Mannerfelt Produktion label in 2018. It's a masterpiece of modern dub techno/experimental electronic music, with a repulsive slow techno feel, a heavy but intuitive ambient tone, and even Mika Vainio's afterimage. Contains 6 tracks, 25 minutes in total. Limited edition of 500 copies.

A miraculous sequel to the 2001 Mo Wax raga/dancehall compilation "Now Thing" is now available on analog. The legendary first compilation, which became a gateway to a different dimension of dancehall sound for many people, was released by Chrome, a label run by London DJ Felix Hall, who also boasts a cult following with his mixtape cassettes for The Trilogy Tapes and Cav Empt. Just as roots reggae and dub influenced disco and post-punk in the '70s, jungle, rap, garage, and even pop and rock have all come together in the same way. From Dave Kelly to Steely & Clevie, NYC's Bobby Konders to Ward 21, only the most important cuts from the scene's leading producers are featured. Mastered by Rashad Becker, with art & design by Will Bankhead & Oliver Payne. The album was mastered by Rashad Becker, with art work & design by Will Bankhead, Oliver Payne, and liner notes by Lloyd Bradley.

This is a remix of a song by Madvillain, a very popular hip-hop duo consisting of MF Doom & Madlib, by Four Tet, one of the best diggers in the world. It was released as a promo in 2005 without a jacket and has been out of print for many years, but now it's back with a jacket! ! An exceptional electronic funk masterpiece that reconstructs the songs included in the album "MADVILLAINY"! An instrumental version is recorded on the B side.

Pressure Sounds, a renowned label known for its archival reissues of rare and high-quality reggae and dub material, has released a superb compilation of Lee Perry's music from the golden age of Black Ark. The compilation includes an unreleased dubplate mix of Junior Murvin's "Roots Train" and an unreleased dubplate mix of Jimmy Riley's "Woman Gotta Have Love," as well as hard-to-find 7" and rare 12" mixes.

The French label Shelter Press, run by Bartolomé Sanson and Félicia Atkinson, has released the debut album by Brooklyn-based sound designer John Also Bennett (JAB), who is also a member of RVNG. This is the 2019 debut album by Brooklyn-based sound designer John Also Bennett, aka JAB. The album was recorded independently in between collaborative projects with artists such as Forma, a Brooklyn, NY synthesist trio known for their releases on Kranky, Christina Vantzou, and Jon Gibson. It is an exercise in the fusion of the organic and the inorganic, including playing with presets adjusted for Aphex Twin's DX7, restrained by the intonation tuning system (genuine tuning). The minimalist ambient drone sound is uniquely layered with electronic synthesizers and a Chinese bamboo flute called "Dizi" that he borrowed from his father. Mastered by Rashad Becker at D+M. Mastered with D+M by Rashad Becker, design by Bartolomé Sanson, artwork by Zin Taylor. recommended if you like La Monte Young, Phill Ninblock, Takehisa Kosugi!

"Originally issued as a CDR on Matt's own Child of Microtones label, the stone madness of this session was so overwhelming we begged him to let us do it on vinyl. Luckily for one and all, he agreed. Recorded here and there, with a variety of different ensembles. Galactic Ooze is one of the most fully warped missives from Planet MV, and that is saying something. While there is a certain continuity between the layered threads of MV's deeply processed vocals and amazing stunned-noodle guitar figurines, the music here is always in flux. There's lots of electronic jiggering which brings to mind the squeedle elements of Blows Against the Empire (still the apex of the Planet Earth Rock and Roll Orchestra's discography), but there's none of the dogmatic claptrap that sometimes derails that album's liberationist thrust. The music on Galactic Ooze is a sweet sideways slip into deep space. Amidst tightly forested jams, there are many beams of sound that act like sun rays, illuminating the process from within, with skeletal frameworks outlined in pure scorch. You can catch whiffs of everything from the roll of Soon Over Babaluma-era Can to the thunder-echo of Yabby You's Beware It Dub at various points in the program, but the insanely sweet angularity of the guitar lines is trademark MV throughout, no matter how wildly the deck shifts at times. And for all their cosmic detailing, the songs are as abundantly human as always, addressing the eternal mysteries of life (whether lived in the woods of on the street). And asking the kinds of questions that require something more than a snappy answer. Galactic Ooze is a beautiful mutational meditation on where we exist inside our own personal cosmos. And its secrets unfold at their own pace, layer by layer by layer. As a great man once said, 'walking on water wasn't built in a day.' You can that that to the bank." --Byron Coley, 2021

Hypnotic proto-Raï from Algeria circa 1979-1989 by Drissi El-Abbassi, a pioneer of the style who bridged its early roots with the era of multi-track digital recording during the sound’s rapid evolution, making for an insane set of microtonal synths, psych guitars and drum machines for fans of Cheb Khaled, Omar Khorshid or Omar Souleyman.

‘Rai Sidi Bel Abbes’ plays deeply into one of the core influences of borderless Algerian/Egyptian label Nashazphone, highlighting a figure relatively unsung beyond the North African Arabic diaspora, introducing his unusually balmy, soft-voiced take on a genre that came to be known for its harder edges. Set to a mix of microtonal Roland synthesiser leads and swaying drum machines, El-Abbassi’s vocals emote with particular clarity and sensuality, carrying the jazz and psych rock-inspired early sound into a prototype of its current form across eight songs that chart his transition from working with principal group Les Freres Zergui, to selections from recordings by his own band’s influential releases during the mid-late ‘80s.

Drissi El-Abbassi was 17 in 1978, when he joined one of the main groups in Oran region, Les Aigles Noir, working as “stage animator” - a sort of hypeman, also responsible for relaying lyrics to the lead singer, at weddings and parties - and by 1979 he was a member of Les Freres Zergui, who pioneered the use of wah wah pedals and drums in the style of Rai; a new sound established by Messaoud Bellemou and his troupe, that incorporated trumpets and sax into a distinctive new Algerian genre. He cut his teeth playing two shows a night at the weekends with Les Freres Zergui, and his first solo tape came out that year with Zergui on guitar. Following Zergui’s passing in 1983, and the dissolution of the band, El-Abbassi set up his own group, embracing new technology and helping progress the style alongside legendary producer Meghni Mohamed for labels such as Editions Anwar, Editions Maghreb, and Editions Saint Crepain.

The eight songs on ‘Rai Sidi Bel Abbes’ cover a spectrum of El-Abassi’s work during 1979-1989, from the mouth watering microtonal psych licks and nagging machine grooves of ‘Zedti laadab aliya’ to the lissom guitars and accordions of ‘Khalouni neck’, showcasing his smoothly contoured vocal cadence in finest style on cuts that resemble melodic Lovers Rock vibes in ’Trig maaskar’ and intoxicatingly sensual highlights ‘Jat jat’, plus the passionate, psychedelic ache of ‘Manetzouedj manebni dar’, or ‘Djibek liyam’, which should appeal to fans of Omar Khorshid as much as Omar Souleyman.

Glacial, sensual psychedelic music that ranks alongside Lustmord, Deathprod and Basinski. Thomas Köner, the incarnation of dark ambient and innovator of the genre, is still making completely unique sounds decades later, and his 1997 masterpiece album about Nuuk, the capital of Greenland, is now available again. The deep, creaking bass sounds, rough synth pad ambience, and ambient sounds that seem to be about to break down, create a frozen soundscape that is still breathtaking after 24 years.

Marika "Politissa" Frantzeskopoulou was a Greek singer from Constantinople, reknowned for her precise, fluid and graceful performances and depth of feeling. Backed by some of the best musicians of the era on lyra, violin, oud, kanonaki and guitar, Marika’s repertoire and techniques drew from Byzantine and Ottoman musical traditions. She possessed an ability to devastate her audience through her expressions of grief, exile, and tragic love, running the gamut of cafe aman, torch songs, lilting and fragile odes to heartache, heavy Piraeus style rebetika, and ecstatic Near-Eastern climaxes, all with a visceral sense of atmosphere, emotion, and fatalism. Marika’s voice is complimented beautifully by her backing musicians, creating a pulsing acoustic foundation over which her voice soars with clarity and purpose. LP version includes a 12 page color booklet with rare photographs, full lyrics, and extensive notes (Bandcamp version includes booklet in PDF format). Produced in collaboration with Tony Klein (Greek Rhapsody, Mortika) and Stavros Kourousis (From Tambouras to Bouzouki) and co-released by Olvido Records (A. Kostis, Alexis Zoumbas).

Minamata features music by internationally renowned composer, musician and environmental activist Ryuichi Sakamoto composed for the 2021 film directed by Andrew Levitas. The sweeping, atmospheric and somber orchestral score is a poignant accompaniment to the story of industrial disaster in the Japanese port town of Minamata, as told through the lens of American photojournalist Eugene Smith. Of the film’s music and working with Sakamoto, director Andrew Levitas says “Ryuichi was my dream collaborator – he would be on any film – but on this mission in particular, there could be no one else…The music quite literally needed to represent both the absolute best of humanity as well as the worst…In my opinion, Ryuichi was able to elegantly ride this razor’s edge and deliver on this concept entirely” Also included on the original soundtrack is the film’s end credit song “One Single Voice” performed by Welsh mezzo-soprano Katherine Jenkins, who stars in the film alongside Johnny Depp. The vinyl release of Minamata is pressed on a pair of translucent grey with black and gold smoke discs and comes housed in gatefold packaging with a 12” photo insert, credits and liner notes from director Andrew Levitas.

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.

Drummer Frank Derrick III (born 1950) grew up in Harvey, Illinois in a musical family_his father Frank Derrick Jr. was a professional musician and arranger who played with notables such as Duke Ellington and Earl Hinges. Frank Derrick III began playing the drums when he was ten years old and at the age of nineteen, he was already playing professionally in the renowned Chicago jazz scene. Frank has led a multifaceted national and international music career. He is a virtuoso performer, composer, and educator. Next to his own recordings he has performed and recorded with numerous legends and artists including Stevie Wonder, Quincy Jones, Eartha Kitt, Roberta Flack, Donna Summer_and countless others. Frank Derrick III toured worldwide with Cab Calloway for ten years and was the drummer for 'The David Letterman Show' on NBC. He is also no stranger to symphonic fans around the world (he was a member of many renowned symphonic 'giants' such as The Royal Philharmonic). As an educator, he served as Chairman of Percussion at 'Henry Street Settlement' in New York, presents master classes, is the respected author of 'Focus On Technique For Drummers', is a contributing author to various educational publications, and is the Drum set editor for 'The Percussive Arts Society'. Last but not least_he was honored with an A.S.C.A.P. Special Award. Frank has a WIDE range of musical experience_his precision, driving rhythmic style and "Straight Ahead" jazz compositions make him unique and a master of his craft. He is a powerfully swinging (yet tasteful) drummer who always makes sure his skills 'serve' the music he's performing. On the album we are proudly presenting you today (You Betcha!) you'll find recordings written by both Frank Jr. and Frank III. All songs are performed by one of his many incarnations: "THE FRANK DERRICK TOTAL EXPERIENCE". Some serious all-star players from the likes of Bill Payne (John Cale-Lionel Richie) and Edwin Williams (Syl Johnson) can also clearly be heard backing up Frank here on this exceptional album. You Betcha! was recorded in 1974 at the legendary Chicago nightclub Fiddler's. The sound quality is top-notch and intimate with a noticeable vibe that conveys the enthusiasm of the audience. Only 1000 copies of this album were privately pressed back in 1974, so it comes as no surprise that this record continues to be one of the rarest sought-after vinyl albums by jazz collectors worldwide. If you enjoy uplifting and hard-swinging jazz, slightly mysterious at times (bordering on the spiritual), lots of funky/soul influences and bouncing energetic grooves_then this is a highly recommended gem for your record collection (and a must-have for seekers of rare grooves).

Outernational Sounds present the first legitimate vinyl reissue of Nate Morgan's Journey Into Nigritia, originally release in 1983. A major statement from a crucial figure on the Los Angeles jazz underground -- Journey Into Nigritia is pianist Nate Morgan's spiritualized deep jazz classic. How many 16-year-olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they'd be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott's Flying Dutchman LP The Giant Is Awakened (1969) being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe's wailing sax had gone straight to the heart. Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott's band was too much for the gifted young pianist: "I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, 'Yeah, I'm Nate Morgan. I'm going to play with you all.' Not that I want to, but that I'm going to." Over the next decade and beyond, Morgan would become a central figure in Tapscott's UGMAA (Union Of God's Musicians and Artists Ascension), bringing new figures into the fold (like Jesse Sharps), running jam sessions, and eventually being given the task of organizing the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch's Foxy Brown soundtrack (1974). Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive and working tirelessly around LA, including collaborations with Bone Thugs N' Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician's musician, Morgan died in 2013. Journey Into Nigritia, featuring fire-breathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach's storied Nimbus West imprint. A committed, spiritualized work that showcases Morgan's heavy composing as well as his McCoy Tyner-influenced and technically flawless playing, Journey features dedications to Coltrane ("He Left Us A Song") and Cecil Taylor ("Study In C.T."). Surging, modal jazz from the LA underground, Journey Into Nigritia is a crucial recording by an unsung jazz legend. Fully licensed from Nimbus West founder Tom Albach.

Often regarded as Japan’s first female singer-songwriter, Sachiko Kanenobu created an enduring legacy with Misora, a timeless classic of intricate finger-picking, gently soaring melodies, and rustic Laurel Canyon vibes. Originally released in 1972 on URC (Underground Record Club), one of Japan’s first independent record labels, the Haruomi Hosono-produced album remains one of the most beloved works to come out of Japan’s folk and rock scenes centered around Tokyo and Kansai areas in the early 1970s. Born and raised in Osaka in a large, music-loving family, Kanenobu picked up the guitar as a teen just as the “college folk” boom swept through university campuses in the Kansai area in the mid-60s. The Pete Seeger and American folk-leaning scene didn’t appeal much to her, however, and instead gravitated towards the British sounds of Donovan and Pentangle, teaching herself guitar techniques by listening to their music. Kanenobu made her songwriting and recording debut as part of Himitsu Kessha Marumaru Kyodan, whose sole single was released on URC in 1969. After years of being pushed aside by the label in favor of newer male artists who were more “folky” in a traditional sense, it was her friendship with the groundbreaking band and labelmate Happy End that ultimately helped her secure the opportunity to record a solo album. With Hosono on board as producer, Kanenobu spent seven days recording the songs that would become Misora, with most songs recorded in a single take. By the time Misora released in September 1972, Kanenobu was gone. She had left for America, eager to start a new life with Paul Williams, a music writer who had founded Crawdaddy Magazine in 1966. Without the artist to promote it, “_Misora_ was asleep for a long time,” she said. Meanwhile Kanenobu settled near Sonoma in Northern California, retiring from music and concentrating on raising her two children. It wasn’t until Philip K. Dick, the famed writer and family friend, heard Misora and encouraged her to get back into music, that Kanenobu felt the urge to pick up the guitar again. Soon new songs started flowing, and Dick helped finance a single for Kanenobu in 1981. He was committed to producing a full length when he died unexpectedly in 1982. While she enjoyed success (especially in Germany) with her hard-hitting group Culture Shock in the 1980s, and continued to release albums in American and in Japan in the 1990s, it’s Misora that keeps coming back to her. Every few years a new generation of fans discover the album. Devendra Banhart, Jim O’Rourke, Steve Gunn, and many others continue to tout its greatness. Kanenobu played a series of sold-out homecoming shows in Japan in 2018, playing Misora in its entirety. Surviving members of Happy End came out to support, some even playing in her backing band. Audience members included old and young, some young enough to be her grandchildren. “I love it,” she said. “They love Misora, they’ve heard it so many times. And here it rose from death…because for them, they can’t believe it—she’s still alive!”

This is the long-awaited repress of Grouper's seventh album from 2011, which was discontinued in 2011 and is now available from Chicago's Kranky. It is a timeless masterpiece that was voted the 21st best ambient album by Pitchfork. A timeless classic, voted #21 on Pitchfork's Best Ambient Albums. This is the kind of beauty you don't know how many times you'll hear in your life... how many times have you been swallowed up by this splendor? This is a fantastic piece of music, with vaguely shimmering, spacey guitars and pianos, and Liz Harris' heavenly voice, creating a mysterious sound world in broad daylight. Once you drop the needle, you will be enveloped in a blissful glow that will make you wish the time would never end.

Master drummer Jaki Liebezeit was very pleased that the craft of drum making has not changed much over the course of time. Be it that a skin is stretched over a drum with cords or bolts or be it that the skin is out of plastic or animal hide – the principle remains the same: Either enclose a hollow space without which there would be no sound (just imagine a drum filled with clay!).

The same applies to the perception of rhythm.
Everything is reduced to the essential: the hollow space in the centre.
It is the invisible that matters.

All tracks on the second Drums Off Chaos EP revolve around this vacant space in the middle.
A centre that is filled with – nothing.
The focus is on abstract, grooving drum music.
Rhythms are reduced to their elementary nucleus to such an extent that they can be perceived as clearly singular but also as universal.

And something emerges that follows universal laws such as gravity, ergonomics and acoustics.

“Play what the drum demands,” was one of Jaki’s sayings.
Together with him, Drums Off Chaos took this to heart. The EP centres on rhythms that are based on simple numerical relationships allowing their richness to unfurl from within.