MUSIC

Recorded live at Morden Tower, Newcastle-upon-Tyne 8th. June, 1983. Originally released together with Changez Les Blockeurs as part of a 2LP box set, has since been released as a single LP. Limited edition of 349 hand-numbered copies.

Recorded from 1984 to 1986, The Impossible Humane is the sole album from The New Blockaders side project Mixed Band Philanthropist. Originally released on the German Selektion label in 1987 and impossible to find nowadays, Staubgold makes this rare gem of industrial-goes-musique concrète available again in a strictly limited edition of 400 copies. Furthermore, the reissue contains two bonus tracks taken from the 7" single The Man Who Mistook a Real Woman for His Muse and Acted Accordingly. The album is assembled of exclusive source material by the who's-who of the industrial music scene of the time, including contributions from Nurse With Wound, Organum, Andrew Chalk, The New Blockaders, Etant Donnes, H.N.A.S., P16.D4, Asmus Tietchens, Controlled Bleeding, Smegma, Merzbow, and many more. "A classic chunk of destroyed concrète. Assembled from a variety of musical and spoken sources, this is a nonstop barrage of genius. Filled with headsnapping changes, sexual innuendo and general confusion, it's a totally great listening experience," said The Wire. Idwal Fisher wrote: "This car-crash tape collage still stands today as one of the best examples of the genre. Its perpetual barrage of split-second samples are a dizzying mess of '60s pop songs, scrapes, industrial whirr, uncategorizeable racket, ghostly voices, electronic beebles and burrs, sped-up records, tape whizz, machine rumble, snatches of reggae, bucket damage, kazoo farts, disco spots and about three-thousand or more (I'm guessing) other samples that really shouldn't work, but, by some sleight of hand or genius, actually do. On paper, snatches of steel bands shouldn't be found on the same side of tape as Geordie MCs, Michael Jackson, pneumatic drills, early Merzbow and '50s doo wop, but here they are and it works. Totally. Then comes the added bonus of being able to listen to this to the point of ad nauseam, mainly due to the fact that there are so few reference points that every listen brings something new."

The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas The Music of the Lamista Kechwas: Recordings of Native Communities of Lamas compiles various recordings made by Los Abuelos del Wayku, a traditional group made up of the oldest musicians from the native communities of Lamas: Medardo Cachique, Reynaldo Amasifuén, Misael Amasifuén, Daniel Sangama, Remigio Sangama and Pedro Cachique. The selection and recording process has been carried out by the Tarapoto musician and researcher Percy Alexander Flores Navarro. These performances seek to recreate the most indigenous musical performance styles of the various musical genres practiced throughout the Lamista Kechwa nation since colonial times, as well as the foreign and national musical trends incorporated by these communities during the first half of the 20th century. Thus, this album aims to be a chronicle of the historical processes that took place in the region, as well as a guide to the cultural diversity of the Peruvian Amazon. Some of the musical genres present in these recordings are: the Christmas Carol brought by the Jesuit missionaries during the 16th century; the Amazonian pandilla and the various musical forms that comprise it since colonial times; the marinera, adapted to the Andean-Amazonian ensemble at the beginning of the 20th century; rock and roll, which was reinterpreted as the Lamista twist in the middle of the last century, and many other musical genres that constitute the repertoire of traditional and popular music of the native communities of Lamas. After the success of the anthology The Fabulous Sound of Andrés Vargas Pinedo, and the launch of the anthology Around the Húmisha: The music of the traditional Amazonian groups of Peru, Buh Records presents this new volume, dedicated to the music of the native communities of Lamas, and this time with the launch of a collection and platform called Central Amazónica, which will be dedicated exclusively to the rescue of various musical expressions of the Peruvian Amazon. This album is released on vinyl LP format, with extensive information and visual documentation. Compilation and notes by Percy Alexander Flores Navarro. Art by René Sánchez. This album is possible thanks to the Proyecto Especial Bicentenario fund

Edition of 180 copies in digipack. First official re-issue. The New Vortex Blockaders Compaign was released on tape in 1984 and was bootlegged on LP in 1998. Both editions are now sought after collectors items. This release went down in noise history as a big classic, and is now reissued, in nice remastered form. 'Extreme, nihilistic Musique Concrete which creates unrelenting walls of sound... Images of chaos, collapse and extreme violence dominate.' Aeon 'This will rip your face off and wear it as a mask!' CMS Foundation

The influence Steve Reich had on contemporary music can hardly be put into words. As one of the great innovators, he started playing around with tape loops and created rhythmic and tonal effects while recording the sounds of rain, it formed the basis of his ambitious project called " It's Gonna Rain". The great depth and complexity make this an outstanding song in his repertoire - an incredible tape loop piece that starts with the words of a gospel preacher, then takes a snippet ("it's gonna rain") and repeats it over and over itself, endlessly looping, and messing with the words and tones as it goes in and out of phase. Incredible stuff – and far more revolutionary than a lot of Reich's later work. The A-side of the LP contains “Violin Phase”, featuring Paul Zukofsky. This masterpiece in minimalist music is grand and epic. The two pieces were recorded live together under the title Live/Electric Music.

There’s a lived-in quality to the sound of Racine’s Amitiés. Named after the French word for friendship, the Montréal-based Quebecois artist follows an extended time spent indoors to contemplate what it means to be isolated and in one’s own body, while also staying connected. The album is a follow-up of sorts to Quelque chose tombe (“Something Falls”), released in February 2020 and a kind of accidental prophecy for the crisis that was to come. Amitiés disintegrates before your very eyes. Opening with a roughshod iPhone recording of Racine playing his parent’s harmonium, the creaky acoustics of "Mon amour je ne guéris jamais" slowly degrade into digital simulations of dreadful organic beauty. That track and the rest of the LP gives the feeling of an abandoned building; a sense of frayed, earthiness dusted with the wisdom of time. And yet, it’s almost entirely made from simulations. Clipped Native Instruments violin patches punctuate the churning atmospherics of “Arête coincée dans une amygdale”. The lonely gongs and bells of “Grosso” resonate in a gust of synthesised ambient. Vocal plugins and the very occasional YouTube samples of a recorded voice are sped-up, glitched, pitched and scrambled into indecipherability. These vocal apparitions rise and fall into the sonic ether like individual ghosts of human contact. They’re bold and expressive, deeply melancholy and yet full of the potential for joy and an awareness of life’s beauty. It’s in this dearth of social interaction—the heady psychosis of too much solitude—that Amitiés’s tone and mood lies. A score for the numb dissociation from internal chaos and alienation, the album’s sense of acute distress is assuaged only by the small network of collaborators and influences it draws from. Long-time friend and peer Justin Leduc-Frenette (aka Keru Not Ever) contributes drum programming to “Mon amour je ne guéris jamais”. A last-minute reworking of the untitled “Sans titre” by German duo Arigto matches the weight and timbre of Racine’s sooty post-classical soundscapes. Ultimately, Amitiés is a very human response to an inhuman environment. It’s an intimate homage to friends and the mysterious effects of distance, while somehow finding healing in hardship.

Like a rediscovered Viking burial ship, Electro Nova compiles near-mythical drone recordings produced in 1998 and described by Helge Sten aka Deathprod as some of the most important music to ever come out of Norway. It's the work of Kåre Dehlie Thorstad and compiles two of the earliest releases on Smalltown Supersound, back when it was basically no more than a bedroom operation. It’s taken over two decades, but finally the label have given the material a first ever proper release on vinyl, complete with mixing and mastering by Deathprod. If you’re into the ice cold swells of anyone from Thomas Köner to Harley Gaber, Biosphere, Kali Malone or, of course, Deathprod - this one's as essential as they come. Kaare Dehlie Thorstad's Elektro Nova produced just two releases during the late ‘90s that have since slipped into drone lore - Trans-Inter-Ference and Elektro Nova/Electro Nova. Admired not only by Deathprod and Joakim Haugland of Smalltown, but also by his contemporaries Lasse Marhaug and Biosphere, his work has evaded pretty much any attention outside of Norway these last two decades. Following a chance meeting with Thorstad at Oslo airport a few years back, Smalltown were prompted to give the recordings a second wind, presenting what is essentially a captivating new release, and crucial addition to the Norsk drone canon. As the story goes, Thorstad was studying photography in the late 90’s in Scotland, but instead of delivering a photo for his final exam he made a record - a double album (2CDs) and a 10” to be precise. That should provide some idea of the textural synaesthetic and landscaping qualities evoked by his music, which he ended up sending to a then-young Smalltown label, who were mostly issuing tapes at the time. With no proper distribution the records largely bypassed wider attention, and become a personal favourite of Smalltown’s Joakim Haugland, as well as avowed fan Helge Sten (Deathprod), who helped render its diaphanous scale in mix down, and Lasse Marhaug who describes them as "two perfect records that deserved much bigger attention”. Between its jaw-dropping opener; the post-apocalyptic vision of its untitled part; and the cinematic white-out of the 10” tracks; Thorstad comes as close as we’ve ever heard to evoking the inhospitable nature and stark beauty of the wild far north. We can hear those landscapes palpably internalised and alchemically transmuted into its coarse grained textural swells and a reverberating multi-dimensionality, variously sustained to extents that evoke an abandonment of the senses, or likewise squashed and isolated to imply the relative anxiety relief of atmospheric flux, where a few degrees temperature rise or a drop in the wind speed can make the difference between life and death. Impressively, Thorstad realised after the release of Elektro Nova and just two live shows that he couldn’t really follow up the work and instead pursued a career as professional cyclist, eventually combining his visual skills to become a pro cycling photographer. In that sense, he’s a bit like composer-turned-tennis coach Harley Gaber, whose almighty ‘The Winds Rise In The North’ (1976) is in some ways richly prescient of this work. Like Gaber, Thorstad can remain safe in the knowledge that his contribution to the drone sphere will endure for the ages, especially with this important, impressive new edition.

Evan Parker, Derek Bailey, Hugh Davies & Jamie Muir's pointillistic classic as The Music Improvisation Company is the latest in Honest Jon's righteous Incus reissue programme, out now in a handsome gatefold 2LP edition. "Though music journalists made a big deal recently about the release of a 1965 rehearsal tape by Derek Bailey’s Joseph Holbrooke trio with Gavin Bryars and Tony Oxley, those early efforts were mere tentative steps along a cliff edge wearing a line safely attached to Coltrane. There’s still a whiff of jazz to Bailey and Parker’s work with the Spontaneous Music Ensemble up to and including 1968’s Karyobin. But with the addition of Jamie Muir — the first great free improvising percussionist who didn’t start out as a jazz drummer — and the way-leftfield electronics of Hugh Davies, the MIC leapt right off that cliff. These six tracks — tight, electric, pointillistic, brilliant, uncompromising and exhilarating — sound like nothing else that came before. In a word, seminal. "The original concepts of vocal and instrumental music are utterly different. The instrumental impulse is not melody in a 'melodious' sense but an agile movement of the hands which seem to be under the control of a brain centre totally different from that which inspires vocal melody. Altogether, instrumental music, with the exception of rudimentary rhythmic percussion, is as a rule a florid, fast and brilliant display of virtuosity... Quick motion is not merely a means to a musical end but almost an end in itself which always connects with the fingers, the wrists and the whole of the body. "The inclusion of the above passage from Curt Sachs' The Wellsprings of Music with this album, the recording of which predates the Music Improvisation Company's only other release, the eponymous ECM outing, indicates a clear intention to stake out territory for European Free Improvisation markedly different from that of the (American) Free Jazz it sprang from. The African-American heritage that led to jazz was melodious, vocal, field holler / church-inflected, and the Germans and the Dutch never made any secret of their affection for it, but British free improvisers in the late 1960s were looking elsewhere. Even so, and though the music press made a big deal a while back about the release of a 1965 rehearsal tape by Derek Bailey's earlier Joseph Holbrooke trio (with Gavin Bryars and Tony Oxley), their early efforts were mere tentative steps along a cliff edge wearing a line safely attached to Coltrane, and there's still a faint but distinct aftertaste of jazz in Bailey and Parker's work with the Spontaneous Music Ensemble up to and including 1968's Karyobin. But with the addition of Jamie Muir - the first great free improvising percussionist who didn't start out as a jazz drummer - and Hugh Davies and his electronics from way out leftfield in the avant garde / experimental world, the MIC leapt right off that cliff. As Nina Hagen screamed later, "1968 is over! Future is Now!" These six tracks – tight, electric, pointillistic, brilliant, uncompromising and exhilarating – sound like nothing else that came before. In a word, seminal."

Nowadays Arica exists only as the ¡ÆArica Institute¡Ç, a school of spiritual development formed and led by Chilean mystic Oscar Ichazo¡Ähowever, the collective also produced several musical albums in the US (presumably to increase awareness of the school), this resulted in the release of four totally eclectic masterpieces: Arica & Audition (1972), Heaven (1973) and Music In The Nine Rings (2002). ​ Both the Arica school and its musical output had a big influence on some of the most creative minds amongst us, for example: prior to making his film The Holy Mountain, Alejandro Jodorowsky met Ichazo and became intrigued enough by his techniques – essentially a potent blending of esoteric knowledge and methods from around the world – to not only go through the initial intensive course of Arica mind expansion and training but to require the same of the entire cast and crew for the film. This undoubtedly affected the whole movie, and it seems strange that Arica¡Çs music was not used for the soundtrack, an Arica soundtrack could have been pure magic all the way through. ​ The Arica album we are proudly presenting you today (Heaven from 1973) is a total must-have in any collection (originally released on the Just Sunshine Records label in 1973 that was responsible for putting out milestone albums from the likes of Betty Davis, Karen Dalton and Norman Feels). Here on these recordings, you¡Çll find ten tracks that will blow your mind and open your spiritual doors! ​ Heaven has it all¡Äomming drones interchanged with upbeat percussion, acoustic and funky basslines intertwining the melodious threads. The album is full of deep meditational grooves meeting all kinds of polyrhythmic free jazz vibes, atonal keyboards and avant-garde soul-jazz sounds. The unhurried improvisations and subtle manipulation of musical tension makes Heaven an immersive, psychedelic and spiritual masterpiece with a jazz sensibility in its overall structure. The superb use of the sitar and the hypnotic percussion gives it that great cosmic touch that reminds of Alice Coltrane¡Çs work. ​ The whole album was recorded on a midsummer night in NYC¡Äone hundred Arica members, musicians and dancers all gathered at the legendary Electric Lady Studio (home to Jimy Hendrix) and played until dawn. The names of the musicians involved were not given on the record sleeves, credited simply to ¡ÆThe Arica Musicians¡Ç. In a way, though, this mystery suits the remarkable music contained within these resultant grooves – timeless sounds that could have been conjured from and played by the very spirits of the Earth¡Äall this accompanied by notes in the gatefold jacket to guide the listener though his sonic voyage. ​ Tidal Waves Music now proudly presents the first ever vinyl reissue of this fantastic album (originally released in 1973 on Just Sunshine Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) and comes packaged in a gatefold jacket complete with the original 1973 artwork, photographs and liner notes ​

"Utopia Andata e Ritorno is the title of the new composition by Walter Marchetti, recorded in Milano in 2005. It has two parts, each one CD long. The first part, 'L'Andata,' puts together two former recordings of Marchetti. The recording of a real storm and a recital for solo piano. This is not the first time that Marchetti mixes a piano solo recital with the recording of a natural live event, thus creating a 'piano concert'. The second CD, 'Il Ritorno', reverses the direction of the first record and literally destroys itself. In the first part of this work, Marchetti puts music successfully in the place it has to have today: on the road to renewal in contact with reality, a reality that is a synonym for vacuity, that is the interdependence of phenomena, music, reality, technology. There is nothing mimetic or anecdotal in this work. The storm is a real storm and the solo piano recital is a modern work of pure music, without the excesses that the society expects of a piano recital from composer and virtuoso player. Pure music, in the best sense of the word. 'L'Andata' is one of the great works of music of our time, or, as José Luis Castillejo remarked, 'it may be the best modern piano concert since Brahms.' In the second part, 'Il Ritorno,' sound waves are deformed when one tries a reverse hearing and the turn around trip becomes an aural nightmare. Of course, avant-gardism has made us accustomed to noises and silences and to the arbitrary idea that anything is music. 'Il Ritorno' announces the end of musical avant-gardism and its technocratic aspirations. It points to the end of music avant-gardism because it exposes the technological manipulation not only of technology beyond its powers, but also the manipulation of both music and sound. 'Il Ritorno' is such a problematic work also because its subject is failure and impossibility."

Woke rhythms and high-spirited grooves from the vaults of two seminal Italian jazz labels, between the 70s and 80s. Intensely curated by Khalab. Hyperituals is part of the new research path undertaken by Hyperjazz Records. Entirely curated by Khalab - Raffaele Costantino, HJ’s founder and head of A&R - Hyperituals is a philological investigation that delves deeply into the musical influences and cultural roots of the young Italian label. The theme that runs through Hyperituals is the exploration of the possibilities of sound, rhythm, remix, and endless sampling. Inspiring listening, interpretation, and insight. Is it an exercise in crate-digging that explores the past of some of the most important yet sometimes forgotten record labels and aims to bring to light music that is contemporary both in its sound and its message. The first stage of this journey is represented by Black Saint/Soul Note, an Italian ‘double’ label based in Milan that, since the 1970s and throughout the 1980s, established itself as one of the most important imprints for international jazz. Founded respectively in 1975 by Giacomo Pellicciotti and in 1979 by Giovanni Bonandrini (to whom Pellicciotti sold Black Saint in 1977), Black Saint and Soul Note have represented a safe haven for incredible and brilliant artists who were unable to find their space elsewhere. By combining jazz tradition with the political vanguard sentiment of the time, the two sister labels were able to press and produce more than five hundred records (still available today - the catalogue is now owned by CAM Jazz), many of which are by some of the brightest names in creative jazz or the ‘avant-garde’ of the era. Black Saint and Soul Note always placed the artists, their visions, and their music at the center, giving them total freedom of creative expression. It is thanks to this constant, cutting-edge and meticulous commitment that today we have some of the shiniest musical gems by Sun Ra, Archie Shepp, Don Cherry, Max Roach, Anthony Braxton, David Murray, and many others. And it is this long list of jazz gods and idols that led the two labels to be recognized as the best in the world by critics, winning the DownBeat Critics Poll for Best Record Label for six years in a row, from 1984 to 1990, conquering the American market. This first double gatefold vinyl volume is entirely dedicated to the Soul Note catalogue. Khalab’s selection - focused on rhythms, grooves and Afrocentric traditions - demonstrates how this music, through its sensibility, can renew our connection to the present in unexpected ways. As the curator and music critic Enrico Bettinello writes in the compilation’s liner notes, in this volume “we find moments of ecstasy, irresistible percussive webs, fiery solos, poetic awareness, and magical ritual lyricism.” A second volume focused on the Black Saint catalogue is already in the works.

A breathtaking self-conscious free-jazz masterwork, 'Rise Vision Comin'' summarizes more than 30 years of musical and theoretical/political expression from renowned activist/scholar/free-jazz pioneer Haki R. Standing on the verge of spiritual jazz aesthetic, his music remains timeless & unforgettable after it's longstanding creation. The first album by the group Rise Vision Comin was released in 1976, and features among others Wallace Roney on trumpet, Clarence Seay on bass and Agyei Akoto on saxophone who also served as creative director. It features 9 tracks with the title track, “Rise, Vision, Comin” a great example of the adhesive comradery between instrumentation and Madhubuti’s spoken-word.

Jan Steele and Janet Sherbourne gained a reputation for being ambient musicians thanks to their appearance with John Cage on 1976’s Voices And Instruments from Brian Eno’s lofty Obscure series. But in a fascinating catalog spanning more than four decades, these English multi- instrumentalists’ variegated sonic sojourns have proved that label to be far too narrow. In the long-gestating, decades-spanning collection, Distant Saxophones, Steele and Sherbourne flaunt a nuanced vision that encompasses ECM-esque chamber jazz, minimalist modern composition, cinematic soundtracks, and an embryonic, contemplative form of experimental pop. Distant Saxophones—many of whose tracks have been re-recorded and improved from their original incarnations—invites you to lean in and bask in an interiorized zone of revelations. These songs simultaneously freeze time and exist outside of it. Community Library’s anthology is offered in a single LP format with a tracklist more limited than the CD version; the LP’s digital download ticket provides the full music set.

Jan Steele and Janet Sherbourne gained a reputation for being ambient musicians thanks to their appearance with John Cage on 1976’s Voices And Instruments from Brian Eno’s lofty Obscure series. But in a fascinating catalog spanning more than four decades, these English multi- instrumentalists’ variegated sonic sojourns have proved that label to be far too narrow. In the long-gestating, decades-spanning collection, Distant Saxophones, Steele and Sherbourne flaunt a nuanced vision that encompasses ECM-esque chamber jazz, minimalist modern composition, cinematic soundtracks, and an embryonic, contemplative form of experimental pop. Distant Saxophones—many of whose tracks have been re-recorded and improved from their original incarnations—invites you to lean in and bask in an interiorized zone of revelations. These songs simultaneously freeze time and exist outside of it. Community Library’s anthology is offered in a single LP format with a tracklist more limited than the CD version; the LP’s digital download ticket provides the full music set.

The 2022 repress that I'm happy with the rare one. It's a great sound field. French writer Ernest Bergez, who has left his works in famous places such as and , and the French drone band "France", which is also known to recur from the current New Age / minimalist sanctuary . Tanz Mein Herz is a large experimental folk group composed of members Jeremie Sauvage and Alexis Degrenier, a hurdy-gurdy player who is also active in network groups such as Ensemble Minisym and La Tene. A 2029 work consisting of a 2015 session sound source containing exceptional content! A powerful sound source jointly released by and . A mantra-like psychedelic and spiritual drone sound by hurdy-gurdy and bagpipes forms an overwhelming sound field while a strange folk lore of unknown nationality breathes. This is swallowed if you're not careful! Limited to 100 copies only.

The NetCast improvisation with Reynols (Miguel Tomasin, drums; guitarist Robeto Conlazo, guitarist Anla Courtis) Monique Buzzarté - trombone and Kevin McCoy-computer processing is my first International collaboration in this form. So far I have been involved in several multi-site improvisation NetCasts in the USA only. Through Pauline Oliveros Foundation I am interested in helping in the evolution of the INTERNET as an international venue where diverse collaborators can engage with one another. I met Reynols as a group in Buenos Aires a few years ago when I was leading a Deep Listening Workshop. I was impressed with this group when they played a serenade for me on my departure. All were playing brass instruments that they had never played before. It was clear that they understood and negotiated the element of risk in the kind of improvisation that I value. Reynols also has communicated with me since the workshop in many ways. I love the feedback and connection. My solo concert given at the National Library in Buenos Aires is remixed and released as the limited edition CD with hand painted covers Pauline Oliveros in the Arms of Reynols. How wonderful it is to be embraced by young people of South America.

Recorded over the course of 4 years during late-night, afterhours sessions at RCA's Studio @ Calle Carlos Maurrás in Madrid (one of Spain's best and bigger studio around that time), it was the result of the duo's interest in unorthodox sound-sources which they manipulated in a sort proto-sampling collage technique based on random tape-loops and best heard in their original percussive studies; their dreamy, surrealist-like lyrical passages or the sort of deep primeval atmospheres first conjured by Cluster or Kraftwerk in the early 70's.The studio as an instrument: pure sound alchemy at work. The Wah Wah edition is the first ever vinyl reissue of this legendary LP reproducing the original gimmick cover, with sound mastered from the original tapes by Eugenio Muñoz, and featuring an insert with photos and info. It is a strictly limited edition of 500 copies only.

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album. More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes). The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only

Following on from one of the most sought after reissues of recent years ‘MUSICA PARA EL FIN DE LOS CANTOS’ on Berlins Cocktail D’amore, Iury Lechs debut LP ‘Otra Rumorosa Superficie’ is made available for the very first time on Vinyl and digital launching the reissue division of London based Utopia Records set up in 2015 by Alexander Bradley. This cassette only release from 1989 is a minimal masterpiece practically unheard until now. Arguably a more complete album than De Los Cantos, Originally composed for two short films ‘Final Sin Pausas’ and ‘Bocetos Para Un Sueno’ as a full score the arrangement is a beautiful listening experience spanning through ambient, meditational and cinematic minimalism of real depth, romanticism and sincerity. Iury Lech is a Ukrainian born multidisciplinary artist, whose main focus now is as the curator of ‘Madatac’ a festival based in Madrid focused on new media art, video art and audio visual technologies which has featured the work of Brian Eno amongst many others. During the late 1970’s and 80’s he rose as a pioneer within a moment focussed on electronically generated audio and visual media. Drawing on the ground gained by Minimalist pioneers like Steve Reich, Terry Riley, and Philip Glass - built from repetitive rhythm and sheets of rippling resonance, drone, and ambience, Lech’s work of the period is so striking and beautiful, that it seems shockingly unjust that it was overlooked until now. The album comes in 180 gram vinyl edit form with full cassette version on USB on purchase of record. Utopia Originals sets out to promote and reinvigorate music and artists in the most authentic way possible. 'OTRA RUMOROSA SUPERFICIE’ has been remastered from original master tapes at Central Dubs, Bern Switzerland and the original artwork licensed through argentine visual artist Pablo Siquier.

Originally released on CD by Cramps Records in 1989, this is a work by Walter Marchetti (1931-), a central figure in the Italian conceptual art group ZAJ, also known as Europe's Fluxus, and a master of the avant-garde in Italy.This is a masterpiece with a melody that seems to be based on a certain mysticism, floating in the water in perfect stillness, and is highly recommended for those who like Morton Feldman.

Song Cycle Records present a reissue of Revolutions Per Minute (The Art Record), originally released in 1982. Revolutions Per Minute is a two-record album of twenty-one original sound works by artists represented at that time by the Ronald Feldman Fine Arts, Inc. in New York. Each gallery artist was asked to record or provide a three-to-five minute segment for Jeff Gordon's Greene Street Recording Studio. No further directions were given, and the sound works are an amazing mix. List of the artists involved: Jud Fine, Eleanor Antin, Terry Fox, Margaret Harrison, Les Levine, Hannah Wilke, Douglas Davis, Vitaly Komar & Alexander Melamid, Helen Mayer Harrison / Newton Harrison, Vincenzo Agnetti, Chris Burden, Piotr Kowalski & William Burroughs, Ida Applebroog, Edwin Schlossberg, SITE, R. Buckminster Fuller, Thomas Shannon, Conrad Atkinson, David Smyth, Todd Siler, and Joseph Beuys. Comes on 180 gram vinyl; Gatefold sleeve.

Time for your booster! More childish theatricals from everybody's favourite 'bone heads. Comprising seven previously unreleased subterranean events. Out of The Ground. 500 limited edition digipak C.D.s

Matthew Linares aka Hidden Rung makes his solo debut on Good Morning Tapes. Having previously released on the label as a member of Pataphysical, Matthew is no stranger to the wizardry of GMT. "Happier" charts into uncanny territory, with it's deep, dubby sonics and fleeting spoken dialogue treading the line somewhere between a familiar land and a new and slightly unnerving horizon. Really lovely stuff. We can't get enough. Highly recommended every time!

Mekonium is Michael Anklin’s solo debut. He is a drummer, electronic musician and producer living in Switzerland. To expand his sound spectrum, he uses field recordings, analog synthesizer, tape machines, as well as self-constructed instruments and sound objects. His sound is characterized by prepared acoustic drums, various objects and sound manipulations. Anklin collaborates with artists such as Dim Grimm, Kilchhofer, Janiv Oron and Wordcolour. He is one of the founding members of the open structured band «UFO» and the science-fiction ritual band «Liebeslied». He produces music for theater, dance and sound installations. Inspired by the pureness of ritual and traditional music, Mekonium sounds like a documentation of a fictional ceremony. Topics such as temporal consciousness, minimalism and anti-virtuosity as well as sounds barely perceptible by our auditory system influenced the production process Drones, soundscapes and slowly morphing repetitive patterns establish a state of time. To represent the concept of reduction, each track starts off with a single instrument or sounding object on which the composition slowly started to grow. Like grapes fermented into wine, acoustic sounds developed into different sound manipulations, still preserving the „taste“ of the original sound sources. The Tracks „Exon“ and „Zymosis“ contain a musical deconstruction of Lucas Rössner’s bassoon. Sounds from the Instrument were dissected with different types of microphones and rejoined into a collage. Hagneck, a hydroelectric powerplant next to Lake Biel was stocked with a number of contact microphones resulting in a huge powerful drone which built the fundament of the track. Mekonium deals with the feeling, condition and dilation of time. Musical fragments are played simultaneously at different speed, acoustic sounds were frozen, deformed, stretched and rearranged.