MUSIC

The final studio recording of the late, great Tony Conrad, and the first duo release with Jennifer Walshe. A wild, improvisatory flaying of song; the sheer sonic force recalls the ecstatic charge of Conrad’s Slapping Pythagoras, with Walshe’s clarion voice at the heart of it. A one-of-a-kind concoction whipped up by two fearless and often peerless souls. It’s a joy to hear their manifest mutual regard and commitment to busting a gut.

Kraftwerk is the self-titled debut album by the Düsseldorf band Kraftwerk. It was produced by Conny Plank and released in 1970. LP on 180-gram vinyl with gatefold sleeve.

The improvisational session by trumpet, shamisen, tabla, and electronics creates light and shade. Through J.A.K.A.M.'s reconstruction, it becomes a wellspring of time and space, reflecting soundscapes reminiscent of a Japanese garden. - Chee Shimizu

A live performance of four early works by Steve Reich: “Four Organs”, “My Name Is”, “Piano Phase” and “Phase Patterns.” This performance marked an important moment in San Francisco bay area new music history with the triumphant return to the east bay by Reich, who studied at Mills College with Luciano Berio, and who performed the 1964 world premiere of Terry Riley’s seminal work, “In C”, at the San Francisco Tape Music Center. The resonant acoustics of the University of California at Berkeley Museum’s concrete interior were especially appropriate for “Four Organs”, with its long additive sustained chords over a maraca pulse. Repressed in a limited edition of 500 copies on transparent vinyl.

Brooklyn's illbient cult Sensational meets Kyoto's composer unbuilt.

A more conceptual Mallsoft work that combines a unique mellowness with a psychedelic, surreal atmosphere, digital psychedelia, and nostalgic sentimentality to create a bittersweet, mysterious worldview.

Volume 8 in the ongoing FRKWYS series on RVNG Intl. is a double album-length collaboration between Blues Control and Laraaji.

Following the "fodder first" tradition of previous FRKWYS installments, Vol. 8 was birthed over e-mail dialogue between RVNG and Russ Waterhouse and Lea Cho of Blues Control. Blues Control's evolved output gracefully arcs with influence and innovation that gleams electronic, New Age, and hard rock terrains. Laraaji's name came up early in that conversation and felt intrinsic to Waterhouse and Cho's own musical calling.

After learning various instruments in his formative years and studying composition at Howard University, Laraaji eventually found his musical conduit in an electronically-modified zither. Laraaji's 1979 album Celestial Vibration (recorded as Edward Larry Gordon) places the stringed instrument at the forefront on two side-length excursions in rhythmic ambiance. The 1980 album Ambient 3: Day of Radiance, produced by Brian Eno for his ambient record series, further documented Laraaji's zither explorations alongside Eno's soundscaping. Laraaji continues to pursue music both in its recorded form and as a healing tool.

Blues Control and Laraaji convened at Black Dirt Studio in upstate New York on December 9th, 2010. Over the course of a single studio day, the three musicians (accompanied on certain jams by Laraaji's "musical friend" Arji Cakouros) improvised on several themes, providing nearly four hours of material and the basis for FRKWYS Vol. 8. After meticulous note taking, sharing, and rough edits among Blues Control and Laraaji, the album was fully fleshed out.

Without context, it's hard to imagine that these musicians never creatively collaborated before this juncture. The dynamic breadth (and breath) of the album feels both effortless and epic, a line usually straddled only after years of playing together. It's clear a cosmic force is at play, and that this playfulness is the creative mediator of the music.

Mshukai is an improvisation group that revolves around Imao Takuma, known as a contemporary artist and percussionist Pedal.The group performs in unconventional spaces such as baseball fields or inside closets, responding playfully to the environment. This tape documents their performance in the headwaters of a river in Koga, Shiga Prefecture, where they brought equipment and played around a campfire. Additionally, recordings capture their studio session in Kanazawa, where they listened to the above recorded performance while playing with Imao's studio doors open. They also recorded a performance where Imao and Pedal interacted across a road, simulating a dialogue. This project serves as the debut album for Mshukai.

Masami Tada (Marginal Consort) started his career by joining the legendary improvisational group GAP in the 1970s, and since the 1980s, he has continuously embraced improvisation while expanding his creative expression into installations, photography, and more. In recent years, Masami Tada has been capturing Mount Koubou, visible from his home in Kanagawa Prefecture, in photographs every day and sharing them on Instagram, continuing his practice of daily acts of creation. This work features recordings of his actual climb up Mount Koubou, during which Tada brought electronic devices, amps, and percussion instruments. These instruments created sounds in rhythm with the climbing process, and the recordings also capture Tada's improvised performances atop Mount Koubou, including interactions with birds, airplanes, and other elements encountered during his performance.

Actress’ tenth studio album, the celestial and expansive Statik, is released June 7th via Smalltown Supersound. The collaboration between Darren Cunningham and the esteemed Oslo-based purveyors of elevated sonics evolved organically following Actress’ remix of a Carmen Villain cut for the 12” of her Only Love From Now On LP. In this vein, the entire Statik project, from conception through creation and release, has been blessed with an almost unnatural ease. For Actress, who wrote the majority of his subtly majestic new record in an extensive flow state, the project serves as a cohesive testament to artistic liberation. Resultantly, Cunningham’s new album is imbued with a sense of freedom. And of stillness. The kind of stillness within artistic motion that arises via the deepest states of flow. Once ‘inside’ the Statik experience, listeners may well find themselves newly calm and meditative. Of course, those well-versed in Actress’s works are well-travelled when it comes to fantastical flights of the mind. Transportive sonics that spark inner-voyages – whether through nocturnal cityscapes, or far above and beyond, through Saturn’s rings and past Pluto’s moons – are prime Cunningham terrain. Yet while Statik is unmistakably an Actress LP, it’s also distinctly aquatic and subtly primordial, and so offers his audience novel elemental atmospheres to flow through. Listening closely, influential visions of aqueous realms, such as the mythic Atlantis, and evocations of ancient ceremonies as well as flying birds (and, perhaps, humans) may reveal themselves. No matter if Statik inspires you to soar above or below the horizon, Actress and Smalltown Supersound promise you a safe and transcendent journey.

Ach, komm, ein Mensch kann nicht immer gut sein... This sentiment rings amusingly true for us. How did we find ourselves in this post-truth era, and why does such a term actually exist? In a world where distinctions between right and wrong blur, does the clarity of a black-and-white delineation persist? Are we progressing, or are we regressing to a state reminiscent of the past? Weaving together the complex tapestry of gore, politics, emotions, and, of course, the human experience in this work is done intricately and reflectively by the hands of Christoph de Babalon.

Moritz von Oswald's latest solo album is his most startling, time-bending material since the Basic Channel days, a collaboration with a 16-voice choir that refracts techno and choral music into dizzying psychedelic traces, exploiting mind-altering xenharmonic synth tones, Ligeti-like operatic phrases and abyssal kicks with a veteran's cunning. We've been knocked sideways by this one - trans-dimensional afters music at its absolute best. We realise that there's been a lot of electronic music released recently saddled with these buzzwords. Choirs, unusual tunings, deconstructions of early music - elements almost mandatory for artists eyeing the lucrative Euro festival circuit. But to our mind that's what makes von Oswald's latest all the more astonishing. He's stepped in with an album that's so definitive, it reminds us just how foundational and game-changing his early material was, and how less can so often amount to more. Opening track 'Silencio' is a dazzling proof of concept that winds lilting, oddly-tuned synth tones around the barest percussion. There are no vocals on this one, instead the traces of early Detroit techno hang heavy around its frayed edges. Working like a scientist with the stereo field, von Oswald introduces familiar elements into the mix in unexpected places. Wormy,cascading synth tones are met by driving whirrs, and the kickdrum sounds so submerged that it's almost an illusion. When he does introduce noisier sounds, they color the track like drybrushed highlights, and he saves the best until the final moments, energising the mood with monumental Millsian stabs that reference the past without retreading churned mud. It sets us up for the album's biggest tonal shift, when Oswald presents the choir on 'Luminoso'. He's worked extensively with ensembles in the last few years, his own - the constantly-shifting Moritz von Oswald Trio - the Deutsches Symphonie-Orchester and Kyrgyz ensemble Ordo Sakhna, and the experience has furnished him with the ability to treat the choir with just the right amount of reverence and distance. Here, the Berlin singers' voices swirl into ghosted tones, nestling beneath a layer of mixing desk noise that feels like von Oswald's little wink to the camera, an acknowledgement of past glories. Moritz also provides a more abstracted rework of the track (along with three other versions of the choral compositions) that deepens the narrative. Losing the vocals completely, this take references the original's framework while adding impalpable, off-grid beats and cottony, rumbling textures that pirouette between the speakers. The synths and voices meet somewhere in the middle on 'Infinito', and von Oswald's remix shuttles them further into outer space, fogging them into spectral impressions and building a lithe rhythm over the top that hiccups and stutters with poise and momentum. 'Colpo' is even more impressive, offsetting the suggestive chorals with mechanical oscillations and thunderous sub bass tones. Like the earliest Detroit experiments, it's material that positions electronic music as a way to speculate about the past's relationship with the future. Von Oswald has formulated a minimalist masterpiece that interrogates not just technology, but the conceptual technologies of cultural invention. It's a highly rewarding, engrossing listen, certain to become a classic for the most adventurous after-hours listeners.

Ash Ra Tempel's fourth LP marked something of a pause, a recap, especially after the surprising Seven Up (which featured Timothy Leary as a guest). The temporary return of Klaus Schulze also greatly contributes to this feeling of summation. The album features two side-long pieces that represent literally two sides of the band, the Krautrock and space music incarnations. "Freak 'n' Roll" is a 19-minute hard-hitting jam, with Schulze bashing away behind the drums and Manuel Gottsching churning some mean guitar riffs while Harmut Enke ploughs heavy basslines. The track is actually an excerpt from a longer improvisation and begins with a fade in that throws the listener in the middle of an already heated session. Long but hardly long-winded, this track deserves a place alongside Can's "You Do Right" and Faust's "Krautrock": it has the drive, the psychedelic appeal, and the creativity of what epitomized the Krautrock style in the minds of young Englishmen and Americans for a while. The 24-minute "Jenseits" sees Schulze at the Synthi A and the organ, weaving dreamy drones and uplifting chords for Gottsching to doodle over. Enke's lines are not always as relevant as one would wish, and Rosi Mueller's soft-spoken narration seems to get in the way during the first few minutes -- in short, this is not Ash Ra Tempel at their ethereal best, but it's still a fine exercise in late-night musical dreaming that will appeal to fans of Phaedra-era Tangerine Dream while not misrepresenting that aspect of the group's work. And put together, those two pieces make a very fine introduction to the first few years of Ash Ra Tempel. ~ Francois Couture

Searchlight Moonbeam is the new narrative compilation from Time Is Away (Jack Rollo and Elaine Tierney) whose eponymous monthly NTS Radio shows, tinctured fusions of fugitive sounds and reverie-inducing archival speech, have won them an ardent following. It follows from the London-based duo’s Ballads, a remarkable driftwerk released on A Colourful Storm in 2022. 
 Searchlight Moonbeam is an autumnal dreamscape, intimate and vespertine, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (written for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisations of self-taught French pianist Delphine Dora. 
 Revelations are frequent: the bedsit isolationism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elastica guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude-grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beautiful, plaintively dubby ‘Is It You?’ by Slapp Happy; a psych-tinged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats. 
 Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associative, intuitive, borderless. Emotional and mysterious. Endowed with the tactility of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons. 2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evocative essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s still-unrivalled talent for gloaming melodies, disques du crépuscule and ensorcelled storytelling.

LP (red vinyl) & 7" (one-sided blue vinyl). Limited vinyl edition of 300 copies.

Following its release in the winter of 2018, "Landmarks", a collaboration between veteran ambient artists Celer and Forest Management, initially drew quiet accolades and a steadfast listenership that has since swelled to unimagined proportions (~20 Mil. streams), resonating with listeners perhaps now more than ever and cementing its status as an experimental classic. Inspired by Paul Theroux's novel "The Mosquito Coast" and Peter Weir's 1986 film adaptation of that book, "Landmarks" sets out 14 tracks in a "stunning hour of music" (The Quietus) that creates a "general sense of foreboding, critique of romantic retreat into individualism and colonialism" (A Closer Listen). The album is now offered on vinyl for the first time (originally out on cassette tape), newly remastered by Stephan Mathieu to enhance the depth and richness of this oneiric soundscape. Both Americans, Celer (Will Long) resides in Tokyo, Japan and Forest Management (John Daniel) in Chicago, USA. "Landmarks" was born of their months-long collaboration, trading music back and forth and reshaping each other's work using a series of patches, tape looping, and electronic manipulation. As a throughline in each piece we hear their distinct voices and cultural contexts blend to unique, often otherworldly effect, conjuring a dreamlike tension that refuses easy resolution. We are hooked by a mood that captured listeners back in 2018 and continues to hold us today in the context of current events, related disquietudes, and a nostalgic longing for solutions that may be more imaginary than real.

Duval Timothy's latest album Help, his most ambitious work to date, sees him collaborate with co-producer Rodaidh McDonald (King Krule, The XX) and Marta Salogni (Bjork), with collaborations from Lil Silva, Melanie Faye, Vegyn, Desta Haile, Mr Mitch, Dave Okumo, and Twin Shadow amongst others. Recorded in London and Los Angeles, it reveals the artists' experience traversing the meshes of the music industry, mental health, YouTube self-help videos, and the healing he discovered through friendship and collaboration. Duval Timothy is a multidisciplinary artist, whose practise is centred around colour and involves the use of music, photography, textiles, painting, sculpture, design, cooking and video. In between delivering a celebrated cookbook for Penguin Books, and an interactive installation at Tate Modern Turbine Hall, Duval makes music, which is sampled by the likes of Solange and Loyle Carner.

Digging deep into the legendary Igloo Records catalog, Holidays Records returns with the first ever vinyl reissue of the imprint's sixth outing, the Belgian composer Henry Krutzen’s astounding 1981 LP, “Silances”. An entirely singular gesture at the borders of sound poetry, musique concrète, and radical electroacoustic practice that draws upon disparate elements of drone, jazz, minimalism, ecstatic tribalism, and various traditions of music from across the globe, decades on from its original release it remains as striking, unique, challenging, and compelling as it did upon its release. * Deluxe edition in screen printed cover + insert * Since their founding during the early years of the new millennium, the Italian imprint, Holidays Records, has stood at the vanguard of forward-thinking sound, building a carefully curated catalog of releases that collectively build context and conversation across numerous avenues of exploration - contemporary and historical sitting side by side - within the wider field of experimental and improvised music. Every step of the way, they’ve seemed to step up the game. Their latest, the first reissue of the Belgian composer Henry Krutzen’s astounding 1981 LP, “Silances”, takes a deep dive into the legendary Igloo Records catalog. Once described by Keith Fullerton Whitman as being “nestled somewhere between Ghédalia Tazartès' mutant Sound Poetry, Anton Bruhin's acoustic / Alphorn drones”, drawing on a palette of vocals, hand percussion, piano, harmonica, saxophone, synthesizer, it’s a truly engrossing immersion into spaciously bristling sonority that remains as radical more than forty years down the road, as it did the day it was released. Issued in a very limited vinyl edition, beautifully reproducing the original sleeve, accompanied by Krutzen’s original liner notes, this is one for the heads that can’t be passed by. Henry Krutzen is a relatively shadowy figure in the history of experimental sound. Between the early '80s and the 2010s, there are only a handful of albums that bear his name, and little to no information about how they come to be. A multi-instrumentalist and composer who studied percussion, saxophone, and harmony in various schools and jazz clinics across Belgium, over the years he played in a diverse range of musical projects across the idioms of jazz, new wave, heavy metal, experimental, chanson française, world music and progressive rock, before relocating to Brazil during the early 2000s. Had he disappeared completely and done nothing else, “Silances”, his lone 1981 LP for Igloo Records - the Belgian imprint founded in 1978 by Daniel Sotiaux to “promote diversity, allowing expressions of more marginal music to be heard and supported in a musical context that lives under the threat of standardization” - would have ensured his legend. Sitting alongside astounding and remarkably unique albums by Leo Küpper, Jacques Bekaert, Henri Chopin, Arthur Pétronio, André Stordeur, and numerous others, in the label’s early catalog, it’s a truly stunning piece of work. Reflecting back in a note that Krutzen penned in 2022 when he was contacted for the reissue of “Silances”, Krutzen recalls: “Since I was 16, I had been experimenting with concrete music with a technician friend and we used all a teenager’s room could offer to make sounds into music: faucets, glasses of water, metal springs on ladders, objects of any kind… I had hours of recordings I pitched to Daniel [Sotiaux, of Igloo Records], to see if he was interested in making an album. I also had other ideas I wanted to be able to develop. What a joy when he accepted to work on the project! So I got to work. First, I set up a vocal improvisation quartet, and we spent long afternoons rehearsing using input I provided… We went into the studio and recorded almost two hours of improvisation, from which I then chose the best moments for the final product”. The resulting nine compositions, when viewed as a cohesive whole, unfold as an endlessly surprising journey into a diverse means of expression, incorporating elements of concrete poetry, phonetical vocal utterance, musique concrète, drone, nods to jazz, minimalism, ecstatic tribalism, and various traditional musics from across the globe, creating a fascinating counterpoint to the roughly concurrent DIY experiments of projects like Nurse With Wound, Current 93, and Organum. While radically open and experimental, one of the most striking aspects of “Silances” is how undeniably tight and considered it is, appearing as though each structure and chosen elements is exactly as it should be, and for which there would have been no other option. From the vocal squawks and ambient detritus of “Des Voix” or the incredibly constrained minimal beats and clangs of “La Machine” - a piece through the consideration of Deleuze and Guattari’s desiring-machines - and the droning harmonics of “Froid”, which incorporate excerpts of Krutzen’s teenage experiments in concrete music with records

Hemann Damen is a Dutch artist and language designer who, among other things, has created visual poems, performance works and "verbosonies" -- a genre that Damen developed where vocalized morphomic elements are assembled in different ways. In his works, he has been exploring "kinetic language" and the spatial aspects of language. Damen's manifesto Semiotic Theatre states that his work "places itself outside official literature and wants to fascinate, shock or activate people by combining and replacing writing and articulation with extra-linguistic signs and techniques like pictures, drawings, graphics, photos, montages, collages, de-collages, projects, objects, light, darkness, signals, symbols, gestures, happenings, noise, silence, smells, tastes, situations, states, properties, streets, landscapes, etc." The first side of this LP presents five verbosonies recorded between 1966 and 1970. The second side presents three phonographies recorded between 1967 and 1973. Hermann Damen was also the founder and editor of the AH! Magazine, a magazine for "verbal plasticism." Somehow parallel in contents with the legendary Revue OU, Damen's AH! occasionally also included vinyl records and represented an ante-litteram multi-media. This edition includes eleven inserts. Because of its specific contents, this edition was issued in a limited run of just 220 copies.

Boston/Tenor/Index presents for the first time some of the earliest works by the American composer Phil Niblock, including the three never before released "Index" (1969), "Tenor" and "Boston III" (both from 1972), thus making it possible to discover Niblock's starting point as a composer. Until now, it's been impossible to encounter Niblock's compositions from earlier than the '80s, a reality thankfully rectified by the long overdue publication of this Boston/Tenor/Index, now on CD from Alga Marghen. "Tenor" (1972) represents the first evolution of Niblock's musical thought towards the aesthetics of microtones, overtones, and drones which the composer would develop in following decades. The piece was recorded by the photographer Martin Bough on tenor saxophone and gradually dubbed back and forth by the composer in his New York studio. The audio materials activated in "Tenor" through technologically de- and re-composed sounding textures, became a vehicle for those sound anomalies that would determine Niblock's audio poetics. Performing gestures are deconstructed though disseminating and editing processes by the imperceptible gestures of the composer. With its smooth flowing structure, "Boston III" (1972) stands at the very beginning of this illusion. It was recorded at the Intermedia Sound studio in Boston with Rhys Chatham (flute, voice), Martin Bough (tenor saxophone), and Gregory Reeve (viola, voice); the composer himself also contributed with his voice. "Index" (1969) is an improvised sound performance by the composer himself. The listener is lucky to listen to the movements of the artist's fingers hitting a guitar string and the soundboard in breathtaking tempo. The piece itself represents early minimalism in its virgin state, untouched by distancing technology. Guitar (both its body and strings), fingers and fingering fuse in a vehement action around which barely listenable sounds and resonances vibrate. This CD also includes "Boston I" (1972), or the first chapter of the "Boston" series. This 25-minute bonus track is less massive than "Boston III," but this version is much richer in dynamics and presents a more recognizable voice of each instrument. The music changes according to the loudness of playback. The interaction of the upper harmonics changes especially, with much richer overtone patterns being produced at louder levels. Edition of 300 copies in digipak sleeve, including an eight-page booklet with photos and liner notes.

Damião Experiença's surreal, self-released run of LPs are among Brazil's most bizarre subcultural treasures, a blown-out mix of psychedelia, freak folk, prog and reggae that defies convention at every loose beat. 'Planeta Lamma' attempts to condense the output for curious beginners, cherrypicking crucial moments from the Brazilian legend's vast catalog. Mindboggling gear. Self-taught outsider Damião Ferreira da Cruz, aka Damião Experiença, is considered to be the Brazilian answer to Captain Beefheart, Daniel Johnston, Jandek or Moondog, a wildly inventive fringe hybridist whose dadaist, semi-improvised songs - often sung in his own invented dialect - have found him a dedicated cult following. Famously press-shy and irritable, Damião was born in Bahia, escaping as a pre-teen to Rio de Janeiro, where he joined the Brazilian navy. Legend has it that Damião hit his head when he fell from a ship's crow's nest, which could explain his unpredictable moods, but he left the navy in the mid-1960s, working as a pimp to fund his private press releases. Damião's moniker was an homage to his favorite band, The Jimi Hendrix Experience, but the music doesn't exactly come across as a tribute. Singing in his own 'Planet Lamma dialect', Damião improvised on instruments he never learned how to play, assembling his voice into ritualistic, overlayed chatters and one-string guitar riffs into a lumbering, reggae-esque chug. Drums might match up, or might not, pattering in the background to add psychedelic thrust, rather than a rhythmic backbone. At its best, the music sounds like multiple records playing at the same time, held together by Damião's charismatic, garbled tones. 'Planeta Lamma' might share a name with Damião's 1974 debut, but it's not the same album. Confusingly, both records begin with the same track (the brief '1308 Registrou Gravou Rose Oliria Experiença'), but this edition quickly goes off piste. The focal point of the first side is the chaotic 'Ritmo Linguagem Planeta Lamma', a densely layered 20-minute romp that Damião released in 1999 (as far as we can tell). The side ends with 'Planeta Lamma' from the debut album, and the second side is mostly taken up by 'Sol', another lengthy, freeform experiment that's taken from the Brazilian multi-instrumentalist's late period. Jazzy and unpredictable, it's a frothy blast of angular funk that's got us confused and completely absorbed. One for the cranks!

A floating drift toward a mysterious reality, between Nature and Cosmos, poised between sleep and wakefulness, temporal co-presences and impossible spatial ubiquities. In this phantasmagorical saga, inspired by TV science-fiction as well as 60s and 70s horror movies, Nicola Giunta/Lay Llamas creates a miraculous balance between original inserts and retrievals of freely chosen fragments from old audio documentaries on vinyl, perfecting the art of sound collage in an absolutely psychedelic way. Nonlinear dream textures become labyrinths of sudden openings, empty rooms, interstellar platforms, narrating voices from other worlds or ghostly churches from beyond the grave. A piercing electronica of cosmic synths, dense with the mists and dusts of distant times, past and future at the same time, where lysergic percussions merge with echoes of flutes vibrating in endless tropical forests and natures. Until the final awakening, in the reality of the first light of dawn. Originally released on cassette by Miracle Pond.

Klara Lewis and Yuki Tsuji's collaboration builds on Tsuji's singular guitar playing and Lewis's resolutely explorative soundscapes. Salt Water is their debut album. Klara Lewis is a sound sculptor and loop finder. She has spent the last decade creating albums equally tender and brutal for Editions Mego as well as in collaborations with Nik Colk Void, Peder Mannerfelt and now Yuki Tsujii. Lewis has presented her audiovisual work at festivals such as Sonar, Mutek, Dark Mofo and Atonal. Yuki Tsujii is a guitarist from Japan-via-London, now based in Stockholm. In the last 15 years, as a member of Bo Ningen, Tsujii has performed extensively across the world in festivals such as Coachella, Glastonbury, and Yoko Ono’s Meltdown and collaborated with artists across different disciplines such as Faust, Lydia Lunch, Keiji Haino, Alexander McQueen and Juergen Teller.

It is highly recommended from electronic music fans to New Age !! The editing board that recorded the first recording (with Takehisa Kosugi) made in the 1980s by David Behrman, the most important experimental electronic musician in the United States, who is familiar with our long-selling store, is Italy. Announced by Alga Marghen, the prestigious musician!

David Behrman is also known for using "microcomputers" with "memory" used for live performances and installations, along with great figures such as Robert Ashley, Gordon Mumma, and Alvin Lucier in postwar American experimental music. A writer who occupies an important position. On the A side, Interspecies Smalltalk commissioned by John Cage and Merce Cunningham in 1984 is recorded, and it was formed as a collaboration with Takehisa Kosugi (violin) and completed as a minimalist masterpiece full of fantasy beauty.

On the B-side, starting with the early version of Leapday Night, "Circling Six," six synthesizer loop phrases were used, and German experimental writer Werner Durand was in charge of the saxophone, avant-garde jazz. It is finished in a strange minimalist refraction that crosses jazz. The final "All Thumbs" is a song for two mbiras, which George Lewis and David Behrman dedicated to the opening of the Paris Science Museum "La Villette" in the spring of 1986. The metal tip of was a sound installation that was connected to a computer music system through a sensor.

Why don't you pick up the excellent unreleased sound source of a rare writer who represents the history of American electronic music after a long time. Includes liner notes and performance photos by David Behrman. Limited to 400 copies.