MUSIC

“Without doubt one of the most beautiful and soulful recordings I have ever heard” Brian Eno

“It sounds for all intents like music from another world” Los Angeles Times

A widely acknowledged classic by the undisputed master of the duduk, a traditional woodwind instrument from Armenia. A double-reed instrument of ancient origin and noted for its unique, mournful sound. Originally released in the Soviet Union in 1983, Eno came across the musician during a visit to Moscow in the late 1980s and subsequently introduced the record to Western audiences via a reissue on his Opal label.

Available on vinyl for the first time in 33 years, restoring the original 1983 artwork to its former glory, this is a unique and powerful musical statement that has had a lasting cultural impact.

Available on vinyl for the very first time: “The Trance Of Seven Colors” by master Gnawa musician MALEEM MAHMOUD GHANIA and free jazz legend PHAROAH SANDERS. Produced by BILL LASWELL and according to The Attic “one of the most important albums of Gnawa trance music released in the ‘90s”. 

Originally released in 1994 on BILL LASWELL’s AXIOM imprint, “The Trance Of Seven Colors” is the meeting of two true musical masters: MALEEM MAHMOUD GHANIA (1951 – 2015), son of the master of Gnawa music MALEEM BOUBKER GHANIA and the famous clairvoyant and "moqaddema" A'ISHA QABRAL, and a master of the traditional Gnawa style in his own right. MAHMOUD learned this craft as a youth along with his brothers, walking from village to village, performing ceremonies with his father BOUBKER and was one of the few masters (Maleem) who continued to practice the Gnawa tradition strictly for healing (the central ritual of the Gnawa is the trance music ceremony – with the purpose of healing or purification of the participants). With 30 cassette releases of music from the Gnawa repertoire with his own ensemble and performances at every major festival in Morocco, including performing for the King in various contexts, MAHMOUD GHANIA was also one of Morocco's most prominent professional musicians. 
In 1994, BILL LASWELL and PHAROAH SANDERS went to Mocrocco, equipped with just some mobile recording devices, to record GHANIA and a large ensemble of musicians (to a good part family members) in a very intimate set up at a private house with the legendary free jazz musician contributing his distinctive tenor saxophone sounds that gained him highest praise as a truely spiritual soul right from the days of playing with JOHN COLTRANE and his wife ALICE and on seminal solo albums like „Karma“. 
The aptly titled „The Trance of Seven Colors“ ranks among the best Gnawa recordings ever released , made it onto the list of “10 incredible percussive albums from around the world” by Thevinylfactory.com and is 25 years after its original CD release on finally available on vinyl! 

An outstanding raga-like drone lp with a distinctive cosmic vibe, Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso). The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.Originally released in 1980, the sound is completly analog and warm, this reissue maintain the first tape artwork + info and photos.

Before New Age hit terra firms at the dawn of the 1980s, the classically-trained Bay Area composer Jordan De La Sierra's consciousness soared with cosmic concepts. With cues and lessons from the great minimalists La Monte Young,Terry Riley, Pandit Pran Nath, and help from the venerable public radio program Hearts of Space, De La Sierra embarked on a journey in alternate tunings and resounding reverberations, transporting entranced listeners from the Golden Gates to the intergalactic. Take an interstellar ride on the sensory engulfing space piano with this lovingly recreated double LP set, complete with De La Sierra's India-inspired visual artwork and musings on the tableau of space.

Wheat and Rust was American composer and electronic musician Tim Story’s fourth and final album for the tiny but influential Norwegian label Uniton/Cicada. It was released in 1987, just on the cusp of the greater renown he would enjoy the following year with his Glass Green record, and a Grammy nomination soon after. Rust Smudges, the artist’s latest work, is an unlikely deconstruction of Story’s own Wheat and Rust, a haunting acknowledgement of time passed and the artistic evolution that has propelled Story, 30 years on, through an unpredictably varied and idiosyncratic career. Rust Smudges is both a distillation of the artist’s recent audio installations that re-contextualize existing material into new forms and experiences, and his unabashed fondness for an audio process that he deprecatingly dubs ‘smudging’. Originally developed simply for his own enjoyment and inspiration, these tone poems are built essentially by submitting harmonically-rich, looped phrases of other people’s music to a process that freezes and ‘smudges’ them. The aural equivalent of watching a movie by viewing only one frozen frame every 5 seconds, with everything in between lost, the hazy apparitions that result cycle through hypnotic, constantly-evolving landscapes both enigmatically abstract and warmly familiar. For Rust Smudges, Story manipulated all 12 pieces of his ’87 release, creating two completely new ambient tracks. It marks the first time the composer has submitted his own recorded music to these unconventional processes, and his pairing of early work with an inherently fragile playback medium crystallizes – and subverts – the distances between youthful exuberance and the inevitable, humbling passage of time. Wheat and Rust’s original tracks proved ideal for the proceedings, Story’s trademark harmonic language was blooming by the late 80’s, creating in the smudges a warmly epic contrast to the icy blurs the digital synths impart. The stately, ambiguous progressions that result are profoundly ruminative - reducing active melodies and intricate arrangements into a deep largo of harmony and timbre the way memory softens sharp narratives into transitory pulses of feeling and recollection. In the process of reworking music from his past, Story manages to put his own melancholy ‘meta’ fingerprint on a cassette culture that was in its first generation when he and his fellow explorers first exploited it in the 70’s, out of necessity rather than choice. Available on digital and in a limited edition of 300 cassettes through Dais records, with an artist edition of handmade box sets (with Rust Smudged dubbed onto the original Wheat and Rust cassettes) available directly from Tim Story.

Yamaguchi electronic landscaper Tomokazu Fujimoto aka Multi-Surface returns from an eight-year hiatus with a slow-blooming suite of radiant terrains and looping lullabies, named for a geometric technique utilized in Japanese gardening: Aesthetics of Inequality Triangles. Prior tapes for Lillerne and Patient Sounds explored parallel spheres of smeared tranquility, but his recent work skews even more sun-flared and crystalline, percolating patterns of texture, melody, and circuitry into states of suspended transience. The album’s 10 tracks lull, unspool, and refract, lapping like waves against aerial shores, flickering rainbows glimpsed in raindrops. The titles offer further clues, mapping a morning walk beneath too blue skies along a path lined with ceramics and stones, pastel flowers gently billowing in a breeze blowing from tomorrow.

Saxophonist, flautist Chip Wickham takes us to Cloud 10 with his most soulful and lyrical album to date Chip Wickham is a jazz musician and producer who divides his time between Spain, UK and the Middle-East and who has made a name for himself with a series of beautifully crafted solo albums that draw equally on the hard swinging spiritual jazz of Roland Kirk, Yusef Lateef and Sahih Shihab, alongside the music of British jazz legends such as Tubby Hayes and Harold McNair and the more contemporary sounds of Jazzanova, Kyoto Jazz Massive and Robert Glasper. Originally from Brighton, Chip studied in Manchester and became involved in the 00's UK jazz, soul. trip-hop and funk scenes, working with the likes of The Pharcyde, The New Mastersounds and Nightmares On Wax as well as playing with Matthew Halsall's Gondwana Orchestra. And his relationship with Gondwana Records goes right back to the very beginning as he played on Halsall's 2008 debut Sending My Love. Cloud 10 is his debut album for Gondwana Records (following a 12" of Lonnie Liston Smith covers in May) and it is a wonderful, timeless, lyrical, slice of hard-hitting, soulful, spiritual jazz and modal hard-bop with a distinctly UK flavour - driven by Chip's deftly funky flute work and hard-hitting tenor. Underpinned by Chip's restless energy and driven by his desire to connect with the listener on a deeper level. "My albums are my legacy. Each one is a statement to the world of music and my contribution to its growth, its energy and ultimately it's history." Cloud 10 features pianist Phil Wilkinson, vibes player Ton Risco, bassist Sneaky and drummer Jon Scott (all veterans of previous albums) together with harpist Amanda Whiting and percussionist Jack McCarthy whom Chip met touring in the Gondwana Orchestra, and rising star Irish trumpeter Eoin Grace who also doubles on flugel horn. The album was recorded at the legendary all analogue Estudios Brazil in Madrid, with the band spending a week at Chip's house in the mountains just outside the city, eating and drinking together, listening to music till the small hours and recording all day. It was a magical time and the positivity seeped into the recording. "It was a beautiful week of pure music and joy, I think you can hear it in the recording and that's the inspiration for the title: Cloud 10 is a place of a great happiness, way out beyond Cloud 9!" And it is that purity, energy and joy, that makes Cloud 10 such a life-affirming recording and makes Chip the perfect addition to the Gondwana Records family. Lean in, you'll be on Cloud 10 too!

reissue of the 1976 historic collaboration between producer instrumentalist Augustus Pablo and dub engineer King Tubby.

I can soak. The 2020 ambient masterpiece "Moss King" for plants, which has also been made into LP & CD, is the latest collaborative album by Omni Gardens and Jogen Salzberg, which is familiar with our store, and released as a cassette from . A gem of work in which meditative and natural beauty-filled new age/ambient sounds are loosely connected on top of Salzberg's soft poetry. Definitely recommended for those who like Iasos and Laraaji! Limited to 300 copies.

„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.

First reissue! This is a sequel to the 1970 solo piano work "Piano Dazibao" after the release of France's first free jazz album "Free Jazz" and "Le Nouveau Jazz" created with Barney Wilen and others. A solo piano work released in 1971 from the Buddha Underground Music Hall of Futura Records. In contrast to the confusion of the previous work, this work contains a maze-like long song in which dissonance and repetition appear alternately. "Attica 71", which uses a prepared piano and has a percussive hammer stroke to develop a minimalistic development, and "La Zone Des Tempêtes", which has a meditative majesty, are magnificent as if praying for peace from a storm. Work. A work that is two sides of the same coin with the previous work "Piano Dazibao". 180G heavy board & remastering specifications.

The album TICHAZOMUONA by Dumisani Abraham “Dumi” Maraire was a pioneering effort to promote mbira music. It is a family effort involving his wife Chengeto Linda “Mai Chi” Nemarundwe and their daughter, Chiwoniso “Chi” Maraire. Maraire was a mbira and marimba player, who taught for many years on the west coast of the United States, and was the moving spirit behind the popularity of Shona music in the USA and more widely. Born in 1944 in Chakohwa Village in Mutambara, Eastern Zimbabwe, Dumi began learning music from family members early. In his late teens, he began to pursue music more seriously; in 1966, Dumi went to the Kwanongoma College of Music in Bulawayo and started to learn instruments like the nyunganyunga mbira and the marimba. The nyunganyunga mbira is a 15-Note kalimba (or lamellophone), named after the community from which it originated; thousands of youths learnt traditional songs on this instrument at Kwanongoma. Before colonialism, the mbira was considered sacred; though vital to Shona culture, its importance in traditional ceremonies suffered during and after colonialism. With the arrival of the settlers, many locals converted to Christianity, where the colonialist missionaries preached that mbira music was connected to evil spirits. The rise of pan-Africanism and patriotism in the postcolonial era brought a more tolerant and respectful stance towards musical instruments like the mbira. At independence in 1980, traditional Zimbabwean music, following heavy Rhodesian censorship, began receiving more airtime on radio and television. After independence, artists like Thomas Mapfumo, Zexie Manatsa, Marshall Munhumumwe, Jonah Sithole, and Robson Banda started performing popular guitar music that replicated the mbira’s sound. Dumi and others, including Ephat Mujuru, Beulah Dyoko, Cosmas Magaya and Stella Chiweshe, played traditional mbira music, sometimes accompanied by the ngoma (drum) and hosho (shakers) as well. Dumi is credited with developing the 1–15 number notation used on the nyunganyunga mbira, and notating the song Chemutengure; this song is used to teach mbira learners the technique of playing the instrument. Dumi was a visiting professor in the University of Washington’s ethnomusicology department from 1968 to 1972. Composing in Shona, he specialised in marimba, singing, dancing and drumming. He taught at The Evergreen State College in Olympia in the 1970s, giving private lessons and touring the Pacific Northwest and British Columbia with several marimba groups he founded. After watching a young Linda Nemarundwe perform one of his mbira arrangements at a 1972 workshop in Zimbabwe, Maraire offered to teach her more, and they worked together for the rest of the conference, playing together at a final performance. Dumi eventually married Mai Chi in 1975, and she joined him in Seattle, where he continued teaching and performing Zimbabwean music, while she earned her BA in Early Childhood Education. In 1982, the family returned to Zimbabwe; Mai Chi worked for the Save the Children Fund, while Dumi developed the ethnomusicology programme at the University of Zimbabwe. During this time, in 1986, they recorded the album TICHAZOMUONA, featuring their 10-year-old daughter Chiwoniso on the title track. The entire recording is a masterpiece of traditional mbira playing, combining the intimate with the spiritual to fashion a genre-defining sound. When you pick up a mbira, you feel you are picking up the history of a part of Africa, a complete way of making music, a whole social system of music and religion and history. As such, it can be confusing as to who is, in fact, playing who. In Dumi’s own words: “When a mbira player plays his instrument, he is not playing it for the world. He is not trying to please people, nor is he performing. What he is doing is conversing with a friend. He teaches his friend what to do, and his friend teaches him what to do... To me, a mbira is a lively instrument. It amazes me when I hear all these different things in my way of playing. This is not because I am playing different patterns without knowing what I am doing, but because, as I give the mbira more, I get more from it. So, in simple terms, I can say that the mbira is always in front, giving the materials to the player, and the player follows behind, emphasising these while at the same time asking for more. What more can one say of such an instrument but that it is a friend indeed?” Indeed, this personal relationship with his instrument led Dumi to credit the Nyunganyunga Mbira separately on the original album cover (even while his daughter’s name, Chiwoniso, was slightly misspelt). Four years later, he was back in Seattle, teaching and earning his doctorate in ethnomusicology at the University of Washington. When Dumi finally returned permanently to Zimbabwe in 1990 to take a position at the University of Zimbabwe, Mai Chi remained in the US, making her home in Portland, Oregon, where she developed her renowned love of cooking into a catering business. Mai Chi was a multi-dimensional musician in her own right - vocalist, marimba player, drummer, dancer - who involved herself deeply with the African music community in the Pacific Northwest, sharing her musicality freely and openly until she died in 1997. Dumi himself died in 1999, having inspired thousands to explore Shona culture by providing a vivid example with his own family. Chiwoniso also passed away in 2013 after an inspirational career of her own. The first-ever release of Nyami Nyami Records was the song Zvichapera by Chi, which she recorded a few weeks before she passed; this song was the reason this label was created. Dumi similarly influenced countless musicians. From his years of residence in the US as a visiting musician, Maraire catalysed a network of Americans playing Zimbabwean music across the United States, focused primarily on the West Coast in Oregon, Washington, and California, with other communities in Colorado and New Mexico. During his years spent teaching in Zimbabwe, many important mbira players crossed Dumisani Maraire’s path, and many musicians inspired by him have worked to perform, teach, and spread Zimbabwean music around the world. Several of Dumi’s surviving children have also gone on to be musicians themselves.

London-based keyboardist/producer Dan Nicholls (of Y-OTIS) introduces a new album project 'Mattering And Meaning' to be released by We Jazz Records on August 13th. Nicholls' music uses acoustic piano as its key element, transporting the instrument into new territories that sound remarkably natural and organic, whilst displaying a strong kinship with the world of abstract electronic music. The music utilises piano loops and field recordings as its key elements, forming what might be described on the surface as a fascinating ambient jazz record – but at the same time there's so much more at play here on deeper levels. Dan's music sounds at once otherworldly and immensely inviting. After years of unlearning and unravelling the knots of a music college education – moving from a career in jazz, via electronic music, to a heartfelt embrace with rave culture and the feminist and queer theories which have so challenged perspectives across many disciplines on the objectified world and the values of capitalism – Dan Nicholls has spontaneously reimagined his relationship to the piano, that edifice of the decaying foundations of european classical music. Here the emphasis shifts from the Work (as object) to the work (as activity). Recorded with only a mobile phone voice recorder, eschewing the gloss of high fidelity audio to embrace the problematic cyborg appendage of the i-Fone VI-$, these lucidly dreamed tracks, like notes in a journal, find their depth and form through quick experimentation and distillation – layering, stretching and collaging in ways that treat the piano as a textural element in the daily soundscape, spilling into, and going along with, regular activities with no ceremony or established system to the process. For Dan, this is as much a documentation as a therapeutic process, casting aside the dogma and seriousness of much artistic practice whilst embracing joy and improvisation in order to search for deeper narratives. The speculative imaginings of three revolutionary thinkers, Donna Haraway, Ursula K. Le Guin and Karen Barad, have profoundly shaped the conception of this album, which also emerged from a deep interest in human relationships to ecstatic practices and communalities which have been so eroded by imperialist/patriarchal/capitalist forces. The title, "Mattering and Meaning", is a meditation on the crumbling habitual delineation and separation of both objects and definitions, including our (ironically) self-destructive human thinking patterns which position us as objective observers, above and over the world rather than inside it, apparently separate from nature and from each other. Like the melodies and themes which permeate these nine sonic tales, inextricable but nevertheless present, our world and our species prove to be more enmeshed, interconnected and interdependent than the dominant rationalism would lead us to believe. This album is a humble gift to the listener, a proposition for inclusion in their own ongoing soundscape, the perpetual activity of listening and awareness.

Portals is an album of minimal electric piano improvisations by UK-based multi-instrumentalist & composer Robert Stillman. Inspired by American ‘new-age’ luminaries like Laraaji, Iasos, and Stephen Halpern, Stillman’s layers of playful, meditative electric piano figures, saturated by warm tape hiss & psychedelic delay effects, are occasionally accompanied by “found sound” field recordings, creating a compelling yet calming listening experience. Portals was recorded at home in Broadstairs, Kent during the winter of 2016-2017 & originally released on cassette in December 2017 by Orindal Records. Three subsequent represses followed, & Portals became the most repressed cassette release in Orindal’s 11 year history. This new vinyl edition, co-released by UK label KIT Records, is remastered by Matt Barnhart & includes bonus track “Portal 8 (The Stranger).” Here’s Robert Stillman’s original statement on the original cassette release of Portals: Portals is an album of multi-tracked improvisations on Fender Rhodes electric piano. The music’s repetitive structure is intended to encourage a state of ‘no-mind’ in the listener, acting as a gateway out of thoughts and into the present moment. Headphones are recommended for the ideal listening experience.

This is a meditative abstract jazz-funk masterpiece that features the mbira, an ancient traditional instrument of the Shona tribe in Zimbabwe that is originally played in rituals to communicate with spirits. Each song has a serene and mysterious beauty behind it, and with the overtones of the mbira, this album has a beauty like a gemstone that sets it apart from many spiritual jazz albums, an exceptional quality. I highly recommend this album to not only spiritual jazz listeners, but to a wide range of music listeners.

Matsuli Music has been digging up lost South African Afro-jazz masterpieces by Hugh Masekela, Johnny Dyani and others. In recent years, contemporary jazz from South Africa has been gaining popularity, following in the footsteps of London and France. This is the latest release from Kyle Shepherd, an award-winning jazz pianist/composer from South Africa who has also worked on film and television projects. Recorded at a time when the world is facing death and disease from a pandemic. This album is dedicated to those who are facing darkness and despair. The album consists of re-edited versions of his previous fave songs and improvisations, and includes two full-length songs of over 20 minutes. This solo piano work is filled with lively pianism, sweet and light lyricism that can be found in lament songs and ukiyoe.

Music From Memory are excited to present the latest chapter in their ongoing collaboration with seminal Spanish ambient musician Suso Saiz. 'Resonant Bodies’ is Suso’s seventh album project with the label and again raises the bar of his musical output, embracing a conceptual approach of which Suso himself says the following: “A body vibrates producing a sound that reaches another body and makes it vibrate and generate a new sound that makes another body vibrate that generates another sound... Imagine an infinite orchestra of bodies multiplying their sound vibrations creating the symphony of RESONANT BODIES. Resonance as a principle of COMMUNICATION; sound as a builder of ties and interrelations between men. RESONANT BODIES pieces are part of a whole and are both generators of it. Unlike other works, during the approximately two years it took me to finish RESONANT BODIES, the pieces were gradually completed and small sound particles were added caused by the vibrations generated by the previous layers until creating imperfect and synchronized sound objects. COMMUNICATION.”

Rudra is Shiva, the Absolute Truth. It is truly music for meditation. Heir to one of the most important musical lineages in the North Indian classical=Hindustani musical tradition, the great man who contributed to the revival of Rudra Veena as a solo concert instrument, more widely known by its release than the Ideologic Organ sponsored by Stephen O'Malley His latest studio recording, made on January 6, 2020 at Studio Swarkul in Mumbai, India, is the latest in a long line of works by Mohi Bahauddin Dagar, the son of Ustad Zia Mohiuddin Dagar, who has unearthed much of the Italian avant-garde music of recent years. Recorded, mixed, and mastered by Maurice Mogard.

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.

XKatedral Anthology I is the first in a series of archival releases dedicated to presenting music by XKatedral affiliated composers working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces dating from 2010 - 2020. Four of the works included here were originally released on cassette early on in the label's history, while the two remaining pieces are presented by the label for the first time.

Zweistein was the brainchild of Suzanne Doucet, who was joined by her sister Diane during the recording process, with added studio effects by Peter Kramper. Doucet spent the first part of 60’s as a pop star - gathering number of hits, and as a TV presenter. Filled with a radical spirit, a love of art and technology, and fueled by a heavy intake of psychedelic drugs, her successes proved unfulfilling by the end of the decade. Zweistein was born. The album, which stretches over three LPs, each with its own theme - Trip, Flip Out, and Meditation, is a writhing radical construction in sound - far closer to the revolutionary gestures of synthesis, electronic and electroacoustic practice emerging during that era, than what is commonly associated with Krautrock or Kosmische. Almost completely abstract, with passages of fleeting melody and drone - enveloping landscapes realized through sound, Trip Flip Out Meditation is pure art, creativity, and experimentation, filtered through the lens of LSD - the heights of the era and all the wonders it brought, with an unmistakable, overt attack on the pop sensibility of its day. An artist diving underground, rearing their head into the mainstream with a thrust of what was found. An astonishing edition - double gatefold, silver engraved gimmick sleeve, 3LP plus a bonus 7" single w/PS and a colour insert. Limited to 1000 copies.

A masterpiece of heavenly beauty minimal poetry left by Robert Ashley, a solitary composer who has made his name in the history of American contemporary music, in 1977! The most important masterpiece of Ashley's career as a legendary experimental music collective and Sonic Arts Union with Alvin Lucier, David Berman and Gordon Mumma. Recorded at Mills College's Center for Contemporary Music in 1977, and put on a clear examination of piano, polymoog, and clavinet by the famous performer "Blue" Gene Tyranny, who has also left many works on Lovely Music. Krishna Bhatt's tabla sounds fluently, and Ashley's spiritual poetry is layered on top of each other.

Green-House's latest EP is a collection of unheard & rare recordings from 2021 & 2022. Imaginary department stores, Wendy Carlos-infused virtual classical, soundscape slices and bonus tracks are all situated radiantly along the spectrum of Solar Editions.