MUSIC

CD version limited to 270 copies, six panel digipack** Recording of the premiere performance of Nitsch’s latest large scale symphony for full orchestra, brass ensemble and choir, in five movements. Composed for the 155th Action of the Orgien-Mysterien-Theater, and performed at the nitsch museum, Mistelbach, September 9th, 2018. Directed by Andrea Cusumano. "The 155th action in Herman Nitsch's Das Orgien Mysterien Theater took place on September 1, 2018. As the first action to be staged in the Nitsch Museum in Mistelbach, Vienna, it coincided with the occasion of his 80th birthday. A series of processions both viscerally affecting and poignant in their restraint took place in the museum to a very crowded audience. This action was accompanied by a new symphony composed by Nitsch for large orchestra, brass band, and choir. Sudden and explosive motifs for the brass band punctuate still, though unnerving, drone-like passages that modulate over the course of the two-hour performance. Throughout, the movement of the participants in the action and the audience is accentuated by the incongruous percussive ring of the whistle that calls attention and directs the activity, heightening the intensity of the entire work.“ (Patrick Quick)

76 minutes collection of recordings made at the Friedrichshof commune between 1982 and 1990. Performed by Otto Muehl and members of the commune. Includes actionist group-music, improvised conceptual pieces, and barpianist-songs. Artist co-founder of the Viennese Actionism (with Hermann Nitsch, Günter Brus and Rudolf Schwarzkogler), controversial founder of the sulphurous utopian community of Friedrichshof in 1972 (which will earn him seven years in prison in the 1990s), Otto Muehl (born 1925 in Grodnau, Austria, died 2013 in Moncarapacho, Olhão, Portugal) staged a series of "material actions" from 1963 to 1970, for film and photography, in which the body becomes part of the environment. Since then, he has developed his work as an enterprise of "surpassing pictorial painting by representing the process of its destruction", with the idea that the body is also an "object" to be shaped, the living body, as well as the social body, art and life being inseparable.

A seminal figure in the history of 20th century avant-garde, yet sinfully overlooked, Wolf Vostell unleashed ideas - those running wild through his debut LP "Dé-coll/age Musik", which remain a slap to the face, more than half a century after they were set into play. A founding member of Fluxus, an early instigator of Happenings, an innovator of video art, Vostell was equally one of the most radical and irreverent practitioners in sound that the world has ever known.

First released in 1982, "Dé-coll/age Musik" draws from material dating between the late 1950’s and early 80’s - the results of Vostell’s application of décollage, the near perfect inversion of collage. Rather than gathered and assembled sounds - as with Musique Concrète, these are the result of subtractions from a former whole - the death of one, giving life to the next.

Swelling from the past, Vostell’s efforts pull the rug from beneath the common history of structured sound. A singular body with no loyalty, producing shocking results. A grinding confrontation - an intoxicating immersion in sound - as brutal as it is ecstatic - an exercise in joy. "Dé-coll/age Musik" assembles the essence of a creative spirit which is rarely known. Each work as radical and fresh today as the moment it was made.

Returning from a self-imposed musical hiatus, Silvia Kastel materialises on YOUTH with a long-incubated follow-up to her 2017 'Air Lows’ album for Blackest Ever Black. It’s an oddly rendered trio of soundscapes somewhere in the vicinity of Madalyn Merkey, Lucy Duncombe or Maja SK Ratkje - beatless - and far from straightforward. Inspired by Toshiya Sukegawa’s Bioçic Music series, which Kastel describes as both calming and eerie, ‘Mantide’ manifests a mix of raw directness and conceptual subtext. Featuring loud birdsong recorded outside her Berlin apartment, Kastel foregrounds her subjects against strafing choral motifs in a way that refuses to inhabit new age environmentalism. It’s all genuinely unsettling - on paper it reads like a calming listen, but instead plays into something much more angsty, and hard to define. On 'Spoons' Kastel takes pointers from electronic music pioneer Carl Stone (who is supposedly working on his own version of the track for future release), as well as "Îles Resonantes", a short documentary about Éliane Radigue. It’s a slowly keening smear of quizzical chords and ribboning tendrils that wrap up into what she intends to “sound and feel like a long goodbye hug…surging and overdriven at times, quiet and soft at others… “ Xantharmony closes the EP on its weirdest flex, constructed entirely out of layered and processed vocal elements. It recalls Lucy Duncombe’s clipped theatric melodrama and Maja Ratkje’s more guttural vocal acrobatics, but follows its own hackle-raising logic, acting more like a cue, or trigger, for sudden and overwhelming feelings of unease. And in our book - that’s high endorsement for continued, closer listening.

DEVIL’S NIGHTMARE (La terrificante notte del demonio) 1971 by ALESSANDRO ALESSANDRONI, considered one of the most evocative and suggestive horror soundtracks, marked his debut release on LP, from original master tapes, in 2017 thanks to Cinedelic records, and in a few days it was sold out. It is now repressed in 300 copies. Don't miss it!

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music. Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece.

Already sold out at the distributor. Einstürzende Neubauten, pioneers of German industrial music and unconventional in every way, defined their challenging and creative career by using junk metal, saws, tin drums, drills, hammers and many other unexpected instruments. A masterpiece from 1981! A legendary act that is not only one of the founding fathers of industrial music, but also one of the most highly influential in the sharp musical world where avant-garde music and rock intersect. A cathartic cascade of noise. A true masterpiece that remains a radical and extreme artistic statement even after the fall of the Berlin Wall. 12-page booklet included.

"I'm sitting in a different room than you are now. I'm recording my own voice. By the resonant frequency of the room strengthening itself, my voice is excluding only the rhythmic elements. Repeat recording and playback until completely destroyed. At that point what you hear is the very natural resonance frequency of the room expressed by my voice. I have this movement in my voice. I think of it as a way to smooth out band irregularities, and I'm not conscious of revealing this phenomenon itself. "

A repress of the classic "I'm Sitting in a Room (1969)" by contemporary musician Alvin Lucier (1931-), originally released in 1981.
By repeatedly recording and playing back the sound of voices echoing in a particular space until the voices become indistinct, the work explores the acoustical engineering of the space to reveal its specific frequencies. It is a work that can only be realized by actually being there, and although it can be perceived as a mere acoustic work just by listening to the recorded sound source, its original purpose is a groundbreaking content that allows the listener to embody a vast and infinite space.

1980 super masterpiece. A work released in 1972, in which a wire with a length of 15 meters was pasted, huge magnets were installed at both ends, and the vibration relationship between air and wire was emitted by an oscillator. This CD contains four tracks of about 18 minutes, but it seems that it was actually an installation for 72 hours in a row. A meditative ecstatic continuous sound that changes depending on the ceiling of the place, the flow of air, the comings and goings of people, etc.

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.

Pow wow singer and Bon Iver collaborator Joe Rainey directs his astonishing voice thru industrial grit, widescreen orchestrals and chaotic DIY synth noise on "Niineta", his debut for Justin Vernon's 37d03d label. Completely singular music. Rainey was brought up in Minneapolis, with a heritage that links to the Red Lake Ojibwe - an indigenous tribe that has a sovereign state in northern Minnesota. And while he didn't grow up there, he long felt the pull of a culture that at various times has been blotted out by the USA. Rainey has been involved in pow wow singing since he was just five years old, and has performed in bands as well as building up an immense archive of field recordings. 'Niineta' is his debut album, but he's been performing for years - in 2016, he even brought Justin Vernon to tears during a festival show in Wisconsin. It was enough for Vernon to invite Rainey to contribute to his last album, and sign him to the 37d03d he runs with The National's Aaron and Bryce Dessner. The record is an example of how pow wow traditions can be synthesized into different forms without losing their musical core; Rainey's range and vocal style roots the album in tradition, but his production and willingness to experiment fires "Niineta" into the future. With help from Fog's Andrew Broder, Rainey has put together a distorted, abstract backdrop that happily ducks from jagged beatscapes into luscious orchestral cinematics without any unintentional jerkiness. The music is consistent with Rainey's pow wow tradition, but acknowledges decades of music that too often has sat distant. 'b.e. son' loops vocal phrases across each other over blown-out percussion and sweeping strings, and 'easy on the cide' foregrounds a beat that sounds rougher than gravel, Autotuning Rainey's lead vocal and contorting it evocatively. On 'no chants', a frazzled TR-808 kick booms beneath tape saturated pulses, creating a soundscape that's not a million miles from Kanye West's game-changing "Yeezus" - but this isn't homage, Rainey uses the distortion to hint at darker elements, a disturbance in his culture that's violent, deafening and charged with emotion. The album's lengthy finale 'phil's offering' is also its most impressive, building slowly over looped crackle that gives a rhythmic click to Rainey's unforgettable vocal performance - eventually the track disappears into an industrial blur as processed field recordings reveal Rainey's heritage. Trust us, this ain't like anything you've heard before.

Finally, His First Album: The Flower of Youth / Souls / Yumiko’s Spring / Song from the Void / Grave / Hail the Wonderful Law of the Lotus Sutra / Phone Call / An Akita Fox Song Run Amok / World School / Resistance, Age 23 / Mr. Ishimori / First Bon / A Cat Burglar in the Night / Bright Night Straight from the Throat: Grampa / Goddam Winter / American Kuyuran / Dagadzugu / A Fitting Adolescence / Footbridge / The Spring is Here Again Song / Fridge / Smithereens / Don’t Kill the Sea Lions / Harmonica / A Little Ditty / Stone A String of Paper Cranes Clenched between My Teeth: Try Saying You’re Alive! / Kill or Be Killed / Memory / Got a Problem? / Namahage / My Hometown is Also Inside a Dog / The Boys of Hachiryū / The Donpan Song Goes Off the Rails / Runaway Boy / Missed My Time to Die A poet, soothsayer, bicycle race tipster, actor, prolific drinker, self-taught guitarist, and living legend of Japanese sound, Kazuki Tomokawa catapulted into Tokyo’s avant-folk scene in the mid-1970s, forging a sound and sensibility marked by throat-wrenching vocals and searing ennui. Among his musical peers in postwar Japan, Tomokawa distinguished himself as a pioneer of radical individualism. He had “the personality of a hydrogen bomb”—as the notorious ultraleft band the Brain Police once put it—and a sound to match. Now, Blank Forms Editions gathers Tomokawa’s earliest records for the first time in a deluxe three CD box set comprised of Finally, His First Album (Harvest Records, 1975), Straight from the Throat (Harvest Records, 1976), and A String of Paper Cranes Clenched between My Teeth (Harvest Records, 1977). In each record, Tomokawa shouts, cries, wails, and croons, his folk stylings tinged with psychedelia and swelling into ground-shaking rock.. Many tracks are performed in his native Akita dialect, a highly regional vernacular of north Japan rarely heard beyond the prefecture, and even less often used in music. Matching his guttural, all-out vocals are profoundly existential meditations on everyday life and the world around him; this is, as record executive Kiichi Takara dubs it, “I-music.” It looks toward the interior, the quotidian, and the domestic with piercing and ever-honest eyes. The accompanying liner notes (here translated for the first time) include introductions by Takara, a round table discussion with Brain Police, and lyrics for all three albums—tracking the rise of Tomokawa as the “screaming philosopher” of Japan. The box set will be in conjunction with the release of each record in LP format in 2022, and the musician’s 2015 memoir, Try Saying You’re Alive! (Blank Forms Editions, 2021), the first-ever English translation of his prose; together they provide the definitive introduction to the singular world of Kazuki Tomokawa. Kazuki Tomokawa (b. 1950) is a prolific singer-songwriter from Hachiryū Village (now the town of Mitane) in the Akita Prefecture area of northern Japan. Since his first release in 1975, he has recorded more than thirty albums. The 2010 documentary about his life, La Faute des Fleurs, won the Sound & Vision award at the Copenhagen International Documentary Film Festival, and that same year saw the Japanese release of the book Dreams Die Vigorously Day by Day, a collection of his lyrics spanning forty years. His most recent albums are Vengeance Bourbon (2014) and Gleaming Crayon (2016), both on the Modest Launch label.

„Gnawa, bottom heavy trance music of North Africa. Repetitive bass lines, generated by the gimbri or sintir with metal clappers, hand drums and voice. Seven trances, seven colors, seven scents, Gnawa not only moves, it can remove.“ Bill Laswell, Hell's Kitchen, NYC, May 2022 Remastered vinyl reissue of this 1990 BILL LASWELL / RICHARD HOROWITZ production of local Gnawa musicians, recorded in the Medina of Marrakesh. According to Allmusic.com „a must for fans of both African and Middle Eastern music” and voted one of the „10 essential Gnawa albums” by Songlines. The Gnawa are an ethnic minorityin today’s Morocco, descendents of slaves from West Africa who were brought to Morocco in the 16th century and who (although they quickly converted to Islam) nevertheless brought with them remnants of their animistic practices. The Gnawa perform a complex ceremony (called lila or derdeba) that over the duration of several hours recreates the genesis of the universe by the evocation of the seven main manifestations of the divine, represented by seven colours. Those ceremonies, led by a master or „maleem“, are still taking place today privately while Gnawa music in general has clearly been modernizing and thus become more profane, but witnessing a performance is still an astonishing experience. With the exception of a handful of recordings by PAUL BOWLES and PHILIP SCHUYLER (more ethnographic documents in a field recordings style), Gnawa music was barely heard outside of Morocco before 1990 – one of the first westerners to come and record the music was BILL LASWELL, back then running his AXIOM label that portrayed a wide range of ethnic music and musicians like THE MASTER MUSICIANS OF JAJOUKA or MALEEM MAHMOUD GHANIA, to name just two. „Night Spirit Masters“, recorded in the Medina of Marrakech, delivers soulful tracks of lead and group singers in call/ response mode, fired by sentirs, drums, hand clapping, and qrakechs, while others are drum features or sentir/ vocal pieces. Over 30 years after its initial release, this essential Gnawa album is finally available again – remastered and on 180gr audiophile vinyl!

More than 30 years after the first release, the first ever LP reissue with 180g heavyweight / audiophile / remastering specifications.

Previously unissued music by Alvin Curran. Collecting works recorded between 2018-2021 and a side-long epic dating back to the early 80s, as the title suggests, »Drumming Up Trouble« focuses on a hitherto almost unknown aspect of Curran’s encyclopaedic and omnivorous musical world: his experiments with sampled and synthesised percussion. As Curran’s wonderful, wildly sweeping liner notes make clear, his fascination with drumming belongs to the radical investigation of music’s fundamental elements that has marked his output since the beginnings of MEV, who aimed (as he says in a recent interview) to return 'in some collective way to a non-existent start time in the history of human music'. Whatever kind of music our proto-human ancestors played, he writes, 'drums were front and centre in the mix. Drums rule!' In a paradox typical of Curran’s approach, »Drumming Up Trouble« interrogates this most ancient dimension of music with contemporary technology. On the first side, we hear recent pieces performed using the sampling software and full-size MIDI keyboard setup Curran has refined since the 1980s. Two of them are wild real-time improvisations, primarily utilising an enormous bank of hip-hop samples. Building from polyrhythmic layers of drum machine fragments to wild cacophonies of clashing vocal samples, scratching, and frantic pitch shifting, these energetic and at times hilarious pieces occupy a space somewhere between John Oswald’s Plunderphonics, Pat Thomas and Matt Wand in the Tony Oxley Quartet, and the propulsive Kudoro/Grime fusion of Lisbon’s Príncipe label. They are improvisations are accompanied by two austere, minimal compositions realised in collaboration with Angelo Maria Farro: »End Zone« for orchestral bass drum and high oscillator, and »Rollings«, where a snare roll is gradually stretched and filtered by digital means into ‘floating electronic gossamer’. The incredible breadth of Curran’s output makes it pretty unlikely that a listener familiar with his work would be surprised to find it branching out in a new direction. But no degree of familiarity with his work can really prepare for side B’s epic and bizarre »Field it More«. It’s perhaps best to let the maestro describe this unhinged and infectious offering in his own words: ‘It features an 8 bar funky minimal riff à la James Brown, played on synth and an-out-of-tune piano, synced to a pre-paid patch on the Roland drum machine. Over this is laid a heavily processed track of the voices of dancer Yoshiko Chuma and movie-maker Jacob Burckhardt discussing an upcoming performance of theirs at the Venice film festival, capped by a track of my playing an increasingly out of control blues over the top of all of the above’. Only Pekka Airaksinen’s Buddhas of the Golden Light comes to mind as a reference point that might even vaguely compare to this wild home-brew of drum-machine funk, mad improvisation and squelching electronics, which eventually dissolved into a massive, layered cluster. Ancient and modern, synthetic and human, hysterical and rigorous, Drumming up Trouble is 100% Curran.

Swooping, sub-heavy sci-fi from Riz Maslen. Leda Maar is a new moniker for the established artist who’s released a crop of downtempo and electronic music as Neotropic and Small Fish With Spine, as well as collaborated with the likes of Future Sound of London, filmmaker Andrew Kötting, and featured in PSP-era Grand Theft Auto soundtracks. Mana’s long lasting love of Riz’s 1996 Laundrophonic EP, released under her Neotropic name, spurred this new release. That 12” was a deep and dark web of rhythm and ghostly urban found sound that one Discogs reviewer aptly named “coin-slot Dubstep”. With elements mostly sourced from tape recordings made in and of her local laundromat, it still stands out as a remarkably contemporary feeling work; more like a post-Fisher, post-hauntology observation of urban life from the last decade, taking the ambient temperature and undercurrent pressures of the 90s. Asking if she had anything in continuity with this slice of her discography, and describing our interest in her take on “space and bass”, Maslen returned to us with Stairway 13. Heavy-lidded and ethereal in long form, Stairway 13's balance of bass weight, mechanical metre, and darkly tinted new age feels like a cinematic re-approach to some of the textures, moods, and themes of Laundrophonic. Originally composed for an installation, Stairway 13 folds in her decades’ experience in sound design and theatre, along with shards and elements abstracted from her more recent folk-like music, zoning into a deep, retreated, altogether dreamlike and expansive atmosphere. The scale and soundscape is reminiscent of Geinoh Yamashirogumi and their Ecophony album series, resonating to similar frequencies and exploring themes of chaos and rebirth in feature-length form. Stairway 13’s four parts spread and swoop as single extended sides across this double LP. Carried by waves of sub bass and heavenly chorus, and later punctuated with autonomic clicks of machinery, whirrs, and pulses -sometimes reminiscent of FSOL’s weirder and more clipped staccato sampling in sections of their cyberpunk ISDN-the work forms a gothic, otherworldly ambience. A subtle space opera.

Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music. Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces - as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. “Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities. As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format - and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a story-like arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like. – exclusive consultation with Gammelsæter & Marhaug, edited by Stephen O’Malley, June 2022

Black Truffle is thrilled to continue its program of archival releases from Arnold Dreyblatt with a recently unearthed concert recording from Dreyblatt and Paul Panhuysen’s "Duo Geloso". While isolated examples of Dreyblatt’s collaboration with the legendary Dutch multi-media artist appeared on the CD reissue of Propellers in Love and Black Truffle’s wide-ranging archival Second Selection, this is the first release to document the variety and playfulness of the concerts that Duo Geloso performed throughout Europe in 1987-88. Both working across sonic and visual forms, fascinated by numerical relationship and the infinite complexity of string harmonics, Dreyblatt and Panhuysen had a natural affinity for each other’s work, strengthened through Dreyblatt’s many visits to Het Apollohuis, the important experimental art space Panhuysen helped to found in Eindhoven. However, as René van Peer suggests in the liner notes enclosed within this release, Dreyblatt and Panhuysen took very different approaches to these shared interests; the wonderful energy of these Duo Geloso performances results from the meeting of Dreyblatt’s more austere, compositional process with Panhuysen’s spontaneity. Recorded at a concert at Het Apollohuis in December 1987 (a series of beautiful photographs of which adorn the LP’s packaging), each of the six pieces presented here is distinctive in terms of instrumentation and performance approach. Using electric guitar and bass tuned by Dreyblatt and played using E-Bow and Panhuysen’s motorised plectrums, the opening ‘Razorburg’ moves slowly through a long series of held notes with a madly insistent tremolo that crosses Dick Dale with a mechanised take on the layered guitars of Günter Schickert. The same pair of instruments returns on ‘Duo for Guitars’, where the mechanised attacks dissolve into a harmonic wash, reminiscent of the machine guitar work of fellow Het Apollohuis alumni Remko Scha. On ‘Love Call’, the guitars and bass are accompanied by Panhuysen’s distant warbled vocals, familiar to Maciunas Ensemble listeners. On the remarkable ‘Synsonic Batterie’, Panhuysen begins proceedings with a solo barrage of electronic percussion on the Synsonics Drum Machine (a simple drum synthesiser produced by the toy manufacturer Mattell), joined eventually by Dreyblatt performing his signature percussive natural harmonics on pedal steel guitar. When Panhuysen adds his bird whistle to the mix, the performance becomes the perfect exemplar of the Duo Geloso’s unique mix of studious close listening and subtle absurdity. Presented in a gatefold sleeve with archival photos and illuminating liner notes from René van Peer.

Written, recorded & performed by Muslimgauze, this album was withdrawn by Bryn Jones, and replaced by the ‘Betrayal’ album in 1993. This is the album in its original form, as intended by Jones. The material was recovered from a cassette copy of the album as the original DAT was reused. ​ "Shekel Of Israeli Occupation' was never meant to be released. This is the only release of the album in its original form, as intended by Bryn. The material was recovered from a cassette copy of the album as the original DAT was overwritten with new material. Remixes of the tracks "Khan Younis", "Jerusalem Knife" and "Yasser Arafat's Radio" appeared on the album 'Hamas Arc'. The tracks "Caste" and "Amritsar" appeared on the album 'Satyajit Eye'. A version of "Drugsherpa" appeared on the mini album 'Drugsherpa'. Versions of the tracks "Khan Younis", "Drugsherpa", "Amritsar" & "Jerusalem Knife" appeared on the extended 'Drugsherpa' album."

olina project emerged at a time when CDJs became standard in clubs and artists from many disciplines began exploring their possibilities. In Lolina’s records and performances, they are used as a live sampling tool allowing her to move between composition and improvisation. On “Fast Fashion”, discarded vocal takes and phone recordings made while watching videos online or walking down the street are re-sampled across long-form collages. “Mark Ronson’s TED Talk Intro (Using Computer Remix)”, restyles a lecture about sampling and constructed of samples into a track that can’t be contained by any of its elements. Relaxed beats break down into stuttering, jokes turn into abstract situations, and meaning is altered through repetition. With transitions between different parts defining the listening experience, “Fast Fashion” reveals a process by which one thing can be changed into another. “Fast Fashion” is Lolina’s fifth album and first working with Deathbomb Arc. Digital to be released on Oct 27th with vinyl to follow in early 2022 ~ both on pre-sale now. Lolina previously released music as Inga Copeland and was a member of the band Hype Williams between 2009 — 2013.

Pow wow singer and Bon Iver collaborator Joe Rainey directs his astonishing voice thru industrial grit, widescreen orchestrals and chaotic DIY synth noise on "Niineta", his debut for Justin Vernon's 37d03d label. Completely singular music. Rainey was brought up in Minneapolis, with a heritage that links to the Red Lake Ojibwe - an indigenous tribe that has a sovereign state in northern Minnesota. And while he didn't grow up there, he long felt the pull of a culture that at various times has been blotted out by the USA. Rainey has been involved in pow wow singing since he was just five years old, and has performed in bands as well as building up an immense archive of field recordings. 'Niineta' is his debut album, but he's been performing for years - in 2016, he even brought Justin Vernon to tears during a festival show in Wisconsin. It was enough for Vernon to invite Rainey to contribute to his last album, and sign him to the 37d03d he runs with The National's Aaron and Bryce Dessner. The record is an example of how pow wow traditions can be synthesized into different forms without losing their musical core; Rainey's range and vocal style roots the album in tradition, but his production and willingness to experiment fires "Niineta" into the future. With help from Fog's Andrew Broder, Rainey has put together a distorted, abstract backdrop that happily ducks from jagged beatscapes into luscious orchestral cinematics without any unintentional jerkiness. The music is consistent with Rainey's pow wow tradition, but acknowledges decades of music that too often has sat distant. 'b.e. son' loops vocal phrases across each other over blown-out percussion and sweeping strings, and 'easy on the cide' foregrounds a beat that sounds rougher than gravel, Autotuning Rainey's lead vocal and contorting it evocatively. On 'no chants', a frazzled TR-808 kick booms beneath tape saturated pulses, creating a soundscape that's not a million miles from Kanye West's game-changing "Yeezus" - but this isn't homage, Rainey uses the distortion to hint at darker elements, a disturbance in his culture that's violent, deafening and charged with emotion. The album's lengthy finale 'phil's offering' is also its most impressive, building slowly over looped crackle that gives a rhythmic click to Rainey's unforgettable vocal performance - eventually the track disappears into an industrial blur as processed field recordings reveal Rainey's heritage. Trust us, this ain't like anything you've heard before.

Having worked with the likes of D.K., J.Tripp, Wojciech Rusin, FUMU, U, Best Available Technology, Grim Lusk, Mars89 and many more to create two sell-out cassettes as 'O. G. Jigg & Friends', the experimental, neo-medieval O. G. Jigg offer their first solo outing. Previously exploring early music and more traditional folk arrangements, Jigg has now composed a contemporary suite, albeit one that seems to have slipped back into a more recent past. Drawing clear influence from post-war classical and the effect it had on soundtrack composition during the 60's and 70's, O. G. Jigg has composed what sounds like the lost OST for a 1970's BBC earth mysteries drama that would have been aired just before children went to bed — early enough to tempt a few, who would have no doubt had to recover from nightmares of spirits rising from stone-circles across rural England. A quote from Malvern Brume encapsulates this feeling nicely; "Makes me think of what I wish the music for 'Children of the Stones' had actually been like. It's bloody wicked!" The music is written for a small orchestral ensemble, often focusing on the woodwind section, using the balance between dissonant and consonant to create an uneasy undertone — even in the sweetest melodic sections. There are definitely more thematic structures in the music than heard on previous releases — sometimes even through the tropes of the aforementioned 60's & 70's era of television and cinema — but it's never overdone. The album helps to ease the listener's mind out of the city and into the landscapes of rolling hills and overgrown and tumbled-down chapels, probing the topographical resonance of stone circles and other prehistoric monuments of the British countryside. This record marks the first release on Will Yates' new 'Earth Memory Recordings' label. A project focusing on psychogeographical recordings and artists exploring global folklore through the sonic medium. This first album is being released in partnership with Tokyo-based label Diskotopia, long-time supporters of Will's own music as 'Memotone'. The record has been beautifully mastered by Seance Centre boss, Brandon Hocura.

For the past 10 years, it has been a sacred place that has expanded the horizon of the underground scene in Copenhagen, Denmark, to the world, and defines one of the current experimental lifelines represented by and . A new catalog of the sacred place , which depicts the shoegaze sound of a new era that is a prestigious and prestigious spectacle of the beauty of nonexistent things, is in stock at once! !! 2022 by CTM, an experimental pop project that is also known as Posh's work with Croatian Amor, Varg² ™, Frederik Valentin & Loke Rahbek, and is a major authority in the Danish music world. The latest album "Babygirl" of the year is released in analog form. Produced by Holger Hartvig, Malthe Fischer and Cæcilie Trier. An ambitious work by gorgeous people such as Ydegirl, Coco O., Johan S. Wieth (Iceage), ML Buch, Jakob Littauer (Yangze), Emil Elg, Claus Haxholm, who were in charge of vocals and instruments. Containing years of recording and composition fragments, this work is positioned as a musical platform that incorporates many voice expressions, relationships and time. An ethereal and avant-garde daydreaming electronic music piece that floats melancholic between light and dark shadows! Mastering specifications by Malthe Fischer.

Absolutely deadly showcase of Wolof drumming patterns invented by legendary Senegalese griot, Doudou Nidiaye Rose - a 100% must-check for fans of West African percussion and Mark Ernestus’ Ndagga Rhythm Force! Top shelf Honest Jon’s tackle, this; 21 swingeingly tight performances by an extended griot family, of the eponymous dynamo’s intricately expressive, meter bending tekkerz. Spanning the decades-old theme tune of Senegalese TV national news, ‘Hibar Yi’ (‘Passing on Information’), thru to the signature rhythm of Senegal’s first ever all-female percussion group, Les Rosettes, it’s a uniquely engaging dedication to the legacy of Doudou Nidiaye Rose, the dynamic griot drummer who developed a system of some 500 original drumming patterns which endure to this day. Performed in the mystical settings of Lac Rose - named for its pink waters (a result of algae blooms and high salinity) - the ‘Twenty-One Sabar Rhythms’ invite us to marvel and, more importantly, dance, to a range of Doudou’s original compositions, as well as important traditional rhythms known to every Sabar player. Beautifully recorded, sans overdubs, with the tuned drums fiercely upfront, while subtly incorporating atmospheric sounds of Lac Rose, the set ideally speaks to the inimitable richness of West African drum communications, and their application in everything from courtship rituals (‘Farwu Jar’) to harvest celebrations (‘Gumbé’), often with a breathtaking sense of joy and energy that simply has to be experienced to be understood. Fair to say that our relationship with this music stems form Mark Ernestus’ endeavours showcasing Ndagga Rhytym Force to the Western world (their show at Mcr’s Band on the Wall still gives us the shivers) and we suspect that if you, too, witnessed one, you’ve already clicked the buy button. But if not, and you’ve got an ounce of bounce in dem bones, The Doudou Ndiaye Rose Family’s thrilling throwdown will utterly light up your life, and make you dance 100% better. Ayayayayaya this is IT! In process of stocking.* Magnificent Wolof drum music, performed by an extended griot family over seven consecutive days, in the mystical setting of Lac Rose, outside Dakar. Doudou Ndiaye Rose — who died in 2015 — is a key drummer in the musical history of the world. He developed a system of five hundred original drumming patterns, ancient and new. Amongst the modern rhythms here is Bench Mi — 'under the Baobab tree,' a spot where where problems get solved. Also Hibar Yi — 'passing on information' — the theme-tune of Senegalese TV national news for decades — and Les Rosettes, the signature rhythm of Senegal's first ever all-female percussion group, convened by Doudou, and named after his grandmother. These original compositions sit alongside important traditional rhythms, familiar to every Sabar player, such as Farwu Jar (a courtship game sometimes resulting in a wedding), Ceebu Jin (also the name of the national dish of fish and rice), and Gumbé, often played after a successful harvest. Recorded in joyful single takes, with no overdubs, mastered by Rashad Becker, the music is deep and thrilling, polyrhythmic to the bone, with a complex, pointillistic intensity at times evoking Jeff Mills in full flight.

This is the first release in a series of albums on Smalltown Supersound with Norwegian freeform pianist Anja Lauvdal. On All My Clothes Lauvdal teamed up with her friend, the reclusive and now retired (?) Norwegian drummer Joakim Heibø for a session in the great tradition of piano and drums at Flerbruket Studios at Hemnes outside of Oslo. The result is 4 untitled tracks and 42 minutes of spontaneous compositions and melancholic ecstacy - and one of the strongest statements in the label's 20+ years history of releasing free-music. Fun fact: Anja Lauvdal is from the small town Flekkefjord in the south of Norway where Smalltown Supersound were founded - and from the age of 12 she was following the label's free jazz output - so it is really something of a full circle when she now debuts on Smalltown Supersound with a free jazz album. Anja Lauvdal (born 1987) has collaborated with Jenny Hval (both live and on records), Hamid Drake, William Parker as well as members of The Necks. This is the first release under her own name. Recently Lauvdal compiled a double album of Norwegian improvised music titled Frijazz mot rasisme (Free Jazz against Racism). She also runs Oslo’s festival for improvised music All Ears that takes place at the Munch Museum in Oslo. All My Clothes was recorded by Magnus Nergaard. Mixed and mastered by Lasse Marhaug. Artwork by Kim Hiorthøy.