MUSIC

XKatedral Anthology II is the second installment in a series of archival releases dedicated to presenting music by composers affiliated with XKatedral working within the realm of slowly evolving harmonic and timbral music. This double-vinyl set contains an array of pieces written from 2018 to 2020 by composers Kali Malone, Jessica Ekomane, Mats Erlandsson, Theodor Kentros, Wilma Hultén and Maria W Horn. This collection of pieces focuses on the use of synthetic sound and algorithmic composition languages as tools for precise work within the realm of spectral exploration. In addition to this, the electronic instrumentation in many of the pieces is augmented by acoustic instruments.

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.

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature’s unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner’s Mind' – a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" – intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.

“How to begin? No beginning... never ending reverberation,” Antoine Beuger writes in the accompanying notes to Leo Svirsky’s River Without Banks. Dedicated to his first piano teacher Irena Orlov, River Without Banks is a mesmerizing, emotional collection of pieces that are simultaneously complex and fluid. The title River Without Banks comes from a chapter of musicologist Genrikh “Henry” Orlov’s profound work Tree of Music. In said chapter, Orlov traces the history of sacred music from the Western and Eastern tradition and how the forms (of the chant, raga etc.) sought to eliminate the division between the physical and the spiritual--the bank and the river.

Arranged for two pianos with accompaniment from strings, trumpet, and electronics, this is Svirsky’s first piece to approach the history of the piano and the possibilities of the recording studio, and his deepest dive yet into exploring the instability of listening and its transformation of musical semantics and affect. Like Wolfgang Voigt’s Gas project, Svirsky overlays romantic musical gestures to create a lush unfamiliarity. No sooner than each track begins the next moment unfurls beneath it, cascading time and blurring perception of past and present.

Akin to a multidimensional Rzewski thematic interpretation, Svirsky’s music defies genre-classification or classical ideology while its virtuosity clearly stems from somewhere from within disciplined traditions. Continuously revisiting, revising, and renewing its emotional core, River Without Banks is less an album of songs than songs of a singular, unlocatable album. Performed by the composer with assistance from Britton Powell, Max Eilbacher, Leila Bordreuil, Tim Byrnes, and recorded by Al Carlson.

A new dawn of infinite and eternal grief work. Inheriting the lifeline and tape music traditions of avant-garde heroes such as John Cage, Steve Reich and Brian Eno, sampling everything from easy listening to Musac long before it became fashionable, through slow, melancholic overtones. William Basinski, a legendary NY drone writer who will make a name for himself in ambient history as a pioneer who has predicted screw music and even vaporwave. The latest album from , which was composed by himself using a tape loop from an archived sound source recorded in 1979, is now available from ! Like many previous works, it is a profound meditation music with the theme of "death and corruption", but it is melancholic and lost, with a deeper arc of sadness than any other work since 2002's masterpiece "Disintegration Loops". Deformed screw music like steam of feeling. Of course, fans around The Caretaker ~ Natural Snow Buildings ~ Grouper are also a must-have!

Release date Feb. 9th. Kali Malone's anticipated new album "All Life Long" is a collection of music for pipe organ, choir, and brass quintet composed by Kali Malone, 2020 - 2023. Choral music performed by Macadam Ensemble and conducted by Etienne Ferschaud at Chapelle Notre-Dame-de-L'Immaculée-Conception in Nantes. Brass quintet music performed by Anima Brass at The Bunker Studio in New York City. Organ music performed by Kali Malone and Stephen O’Malley on the historical meantone tempered pipe organs at Église Saint-François in Lausanne, Orgelpark in Amsterdam, and Malmö Konstmuseum in Sweden. Kali Malone composes with a rare clarity of vision. Her music is patient and focused, built on a foundation of evolving harmonic cycles that draw out latent emotional resonances. Time is a crucial factor: letting go of expectations of duration and breadth offers a chance to find a space of reflection and contemplation. In her hands, experimental reinterpretations of centuries-old polyphonic compositional methods become portals to new ways of perceiving sound, structure, and introspection. Though awe-inspiring in scope, the most remarkable thing about Malone’s music is the intimacy stirred by the close listening it encourages. Malone’s new album All Life Long, created between 2020 - 2023, presents her first compositions for organ since 2019’s breakthrough album The Sacrificial Code alongside interrelated pieces for voice and brass performed by Macadam Ensemble and Anima Brass. Over the course of twelve pieces, harmonic themes and patterns recur, presented in altered forms and for varied instrumentation. They emerge and reemerge like echoes of their former selves, making the familiar uncanny. Propelled by lungs and breath rather than bellows and oscillators, Malone’s compositions for choir and brass take on expressive qualities that complicate the austerity that has defined her work, introducing lyricism and the beauty of human fallibility into music that has been driven by mechanical processes. At the same time, the works for organ, performed by Malone with additional accompaniment by Stephen O’Malley on four different organs dating from the 15th to 17th centuries, underscore the mighty, spectral power that those rigorous operations can achieve. All Life Long simmers in an ever-shifting tension between repetition and variation. The pieces for brass, organ, and voice are alternated asymmetrically, providing nearly continuous timbral fluctuation across its 78-minute runtime even as thematic material reiterates. Each composition’s internal framework of fractal pattern permutations has the paradoxical effect of creating anticipated keystone moments of dramatic reverie and lulling the listener into believing in an illusory endlessness. On an even more granular level, the historical meantone tuning systems of each organ used, and the variable intonation of brass and voice, provide further points of emotional excavation within the harmony. The titular composition “All Life Long” appears twice on the album, first as an extended canon for organ and again in the final quarter, compactly arranged for voice. In the latter, Malone pairs the music with “The Crying Water” by Arthur Symons, a poem steeped in language of mourning and eternity. For organ, “All Life Long” moves with a patient stateliness, the drama concentrated in moments when shifting tonalities generate and release dissonance and ecstasy. For voice, each word is saturated with feeling, the singers swooping gracefully downward to capture the melancholy of the narrator’s relationship to the timeless tears of the sea. “Passage Through The Spheres,” the album’s opening piece, contains lyrics in Italian pulled from Giorgio Agamben’s essay In Praise of Profanation. In it, Agamben defines profanation as, in part, the act of bringing back to communal, secular use that which has been segregated to the realm of the sacred, a process Malone enacts each time she performs on church organs. This is not music of praise, or of spiritual revelation, but it is an artistic enactment of translating the indescribable. It carries the gravity of liturgical chant, and its fixation on the infinite, but draws its weight from the earthly realm of human experience. A music that draws the listener into the present moment where they can discover themselves within the interwoven musical patterns that can come to resemble the passage of days, weeks, years, a lifetime.

On Reflections Vol. 3: Water Poems, Félicia Atkinson and Christina Vantzou channel their friendship and atmospheric artistry into ceremonial focus. Spoken-word environments and orchestral imagination flow like tributaries into a unified stream, resulting in a collection of dreamlike songs and soundscapes anchored in sea, sky and stone. Through electro-acoustic instrumentation, voice, and environmental sound, Water Poems invites listeners into a subconscious space somewhere between everyday intimacy and the oceanic enigma from which all life unfolds.

'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy.

14 short melancholy tape-loops from the early eighties. Remastered and now available on conventional pressed CD in Trim-Pak (previously available as a very limited CDR. "Melancholia is probably the best Basinski's record until now, even if this is hard for me to say given my love for each one of his releases. Contrarily to his 'continuing' projects such as Disintegration Loops and Water Music, this is a sort of a sketch album, made of short pieces all created with tape loops and some synthetic wave here and there. This music is so beautifully delicate and sad in its auto-reflective moods, it stands right there with everything ranging from the usual suspects in the 'ambient' field, to a distorted damp ghost of Claude Debussy or Maurice Ravel put into a time machine. Just ravishing as you can imagine, William's almost suffocated loops celebrate the burial of any enthusiastic thought, to make room to the most difficult introspection -- the one growing you in a hurry and leaving you alone, observing from a safe distance. This beauty is for any human being who's not afraid to understand life's happenings -- maybe the hard way, but who cares?" --Massimo Ricci, touchingextremes.org.

Terre Thaemlitz and Zeitkratzer, two noted and highly-respected names in experimental music. This release finds the Zeit guys meeting Thaemlitz on Terre’s terms, adapting and performing pieces from Deproduction with acoustic chamber instruments. Recorded live in Berlin last year, spreading over two CDs.視聴-Admit It's Killing You (And Leave) (Sound/Reading for Gay Porn) (Live Version)
視聴-Names Have Been Changed (Sound/Reading for Incest Porn) (Live Version)

A solo album released in 2017. It is an ambitious work that breaks new ground after more than a year of recuperation from illness, and several concerts have been held overseas, mainly featuring material from this album. While the previous album "out of noise" was an organic acoustic work, this album makes extensive use of analog synthesizers, including vintage ones. Since one of the original production ideas was the soundtrack to a fictional Tarkovsky film, each song strongly evokes the listener's own image of the film. In fact, after the album's release, Shiro Takatani, Apichatpong Weerasethakul, Zakkubalan, and others made a film of the album and its songs, which was also presented as an installation. The album includes "andata," a new signature song that has been performed at every concert in recent years. Also, "fullmoon" and "Life, Life" featured readings by Paul Bowles and David Sylvian, respectively, from the film "Sheltering Sky".

Simeon ten Holt's landmark minimalist opus Canto Ostinato has a known magnetism. The piece's captivating harmony and winding structure prove an adventurous enterprise for any like-minded players embarking down its path, and it was at this very threshold that Metropolis Ensemble's Andrew Cyr, musician/composer Erik Hall, and the members of Sandbox Percussion all found each other. Their ensuing undertaking marks a world-class collaboration that yields an expansive and beautifully detailed new presentation of ten Holt's iconic work. In 2023 the New York Times shined a light on Simeon ten Holt, the late Dutch composer mostly unknown to the American contemporary classical audience. Featured in the story was Erik Hall in his Michigan studio, whose enthrallment with Canto Ostinato had resulted in his acclaimed solo recording on the label Western Vinyl. Taking notice was Metropolis Ensemble artistic director/conductor Andrew Cyr. He promptly relayed the album to Sandbox Percussion—each of them GRAMMY-nominated ensembles sharing over a decade of work together—and invited Hall to join them in re-orchestrating the piece for an outdoor summer solstice performance at the Brooklyn Botanic Garden. Now jointly feeling the piece's pull, the team crafted a sweeping new large-ensemble arrangement over six months, bringing into its orbit The New School's Sandbox Percussion Summer Seminar, as well as composers David Leon, Ben Wallace, and Ledah Finck and the Bergamot Quartet. The result was a luminous adaptation of the score, complete with mallet percussion, woodwinds, strings, and piano, garnering a recommendation from NPR's Morning Edition and culminating in sunrise and sunset performances for an enchanted audience. The project's momentum carried straight into the studio, as a new recording became imperative—a permanent document of the team's collective ardor for the composition. Spearheaded by Metropolis Ensemble, produced by Cyr and Hall, and arranged by Hall, Leon, Wallace, and Sandbox Percussion’s Jonny Allen, the interpretation extracts and reframes every line, motif, and arpeggio from the original score, expanding ten Holt’s piano manuscript into a prismatic chamber array. Recorded by GRAMMY-winning audio engineer Mike Tierney, the performance was captured in New York, 2025. Sandbox Percussion's array of mallet instruments maintains a unified and gracefully athletic expression of the piece's duration, while David Leon's octet of woodwinds overlay a kaleidoscopic tapestry. Eighteen strings—led by award-winning violinist Kristin Lee—provide cinematic, otherworldly depth. And Erik Hall's concert grand piano threads through it all, a passionately reverent preservation of the piece's keyboard origins. Altogether, a breathtaking new form for Simeon ten Holt's already-monumental opus, each element serving the whole while driving towards a rapturous resolution. Canto Ostinato, long beloved in its native Netherlands, is still a flame just beginning to burn in the US; a world just beginning to be discovered. But its gravity is certain. And the cohort of Metropolis Ensemble, Erik Hall, and Sandbox Percussion is honored to bear the torch and help continue to draw listeners everywhere to Simeon ten Holt's masterpiece of minimalism.

When you’re running a label, a demo occasionally comes across your desk that makes you reconsider everything you thought your label was all about. For Balmat, such was the case with this stunning album from Stephen Vitiello, Brendan Canty, and Hahn Rowe. It sounds like nothing we’ve released so far—and that very otherness opened up a whole new world of possibilities for us. Fans of ambient, experimental electronic music, and sound art will be familiar with Vitiello, a New York native, long based in Virginia, who has collaborated with a cross-generational list of greats: Taylor Deupree, Steve Roden, Lawrence English, Tetsu Inoue, Nam June Paik, Ryuichi Sakamoto, Pauline Oliveros, and many more. On labels like 12k, Room40, and Sub Rosa, he has explored a wide range of minimalism, microsound, lowercase, ambient, improv, and other styles. But this album is something different. It may begin in ambient-adjacent territory, but it quickly veers off, and it just keeps zigzagging, taking on elements of krautrock, post-punk, dub, and the groove-heavy interplay of groups like Natural Information Society and 75 Dollar Bill. This stylistic turn is thanks in large part to Vitiello’s choice of collaborators. “We’re coming from three different schools,” Vitiello says: “sound art, art rock, and punk rock.” Active since the early 1980s, Rowe—a violinist, guitarist, and producer/engineer—has played with, or manned the boards for, a frankly jaw-dropping list of musicians: Herbie Hancock, Gil Scott-Heron, the Last Poets, Roy Ayers, John Zorn, Glenn Branca, Swans, Live Skull, Brian Eno, David Byrne, Anohni, R.E.M., Yoko Ono, and many more. But he might be most closely associated with Hugo Largo, a one-of-a-kind New York quartet—two basses, vocals, and Rowe’s violin—that in the late 1980s helped lay the groundwork for what would eventually become known as post-rock. Canty, of course, is the legendary drummer of Fugazi, the visionary DC post-hardcore group, as well as Rites of Spring before them, and, currently, the Messthetics, a Dischord-signed instrumental trio with guitarist Anthony Pirog and Fugazi bassist Joe Lally. Vitiello’s trio first collaborated on First, a 17-minute piece released on the Longform Editions label in 2023. Second picks up where the freeform drift of First left off, channeling the trio’s exploratory energies into more intentionally structured tracks and—in a real first for Balmat—some almost shockingly muscular grooves. “Sometimes my projects are more conceptually driven,” Vitiello says, “but I think this was more musically geared. I just wanted to open up the references and bring in an incredible drummer, bring in some melodies, and I’m sort of the center.” But his collaborators, he stresses, are “vastly creative in making anything I might suggest better.” Like its predecessor, Second took shape in phases, shifting between improvisation and collage. Vitiello laid down the skeleton of the music at home, sketching out initial ideas on Rhodes keyboard and acoustic and electric guitar; he then fed the parts through samplers and his modular system, recording 10- or 20-minute jams. Once he had edited them into more structured forms, he hit the studio with Canty, who added not just drums but also bass and piano; finally, Vitiello took the results of those sessions to Rowe, who played violin, viola, electric bass, and 12-string acoustic and bowed electric guitar, and assisted in some of the final structuring and mixdown. A few more surprises along the way: Reanimator’s Don Godwin, the studio engineer where Vitiello recorded with Canty, contributed what he calls “resonant dustpan”; and none other than Animal Collective’s Geologist, who just happened to be in the studio that day, sits in on hurdy gurdy on “Mrphgtrs1,” the album’s gorgeous, stunningly atmospheric drone closer. “I love these chance encounters,” Vitiello says. “Somebody I admire, a group I admire—that was an unexpected gift.” An unexpected gift is a great way of describing Second as a whole: three veteran musicians venturing outside their usual zones and finding a new collaborative language together. The results can’t be neatly slotted into any given genre; they belong not to any given category, but to the spirit of conversation itself.

Originally released on Philip Glass's own Chatham Square label in 1971, 'Music with Changing Parts' is a minimalist set text, a work for multiple electric organs and woodwind that deserves to be filed alongside Terry Riley's 'A Rainbow in Curved Air' and Steve Reich's 'Four Organs'. Glass suffers from discography bewilderment - he's released so much that it's hard to know exactly where to go. Do you opt for his soundtrack to 'Koyaanisqatsi', his prophetic pseudo-opera 'Einstein on the Beach' or go for something even more widely known? He's one of those artists who's understood more as a reference; someone you've heard, whether you're aware of it or not. And listening back to 'Music with Changing Parts', it's quite clear that he's had an overwhelming impact on so much experimental music, especially as we hit the twilight of the organ revival. Riley and Reich, who was long Glass's sparring partner, often take the critical flowers and yet, listening back to this one you can hear just how it's Glass's melodic sensibilities, the ear that got him a seat at Hollywood's top table, that ripple throughout so much contemporary avant-garde music. 'Music with Changing Parts' is an early example of Glass's very specific brand of minimalism, where interlocking repeating melodies create eerie phasing patterns, leading to psychoacoustic phenomena that would become hallmarks of the wider "new age" genre. Glass was inspired after a rehearsal of his 1969 piece 'Music In Similar Motion' where he noticed the rhythmic pulses were creating the illusion of sustained tones. So writing this one, he concentrated on the keyboard patterns, varying their rhythm while accepting that the three Farfisas and electric piano would create phantom sounds. There are no solos, exactly, and as the hour-long piece evolves, Glass coolly adds woodwind, electric violin and voice to reinforce the psychoacoustic elements, creating a haunting flux that's still rarely been bettered. Listening back 55 years later, it's alarming how perfect it sounds having absorbed so much that's been directly and indirectly inspired by its lattice of electronic chimes. Even if you think you've got a handle on Glass's output, this is an album every enjoyer of minimalism - whether it's Steve Reich's 'Music for 18 Musicians', Kali Malone's 'The Sacrificial Code' or Charlemagne Palestine's 'Strumming Music' - needs to own.

Latency presents the first-ever arrangements of iconic Ethiopian composer Emahoy Tsege Mariam Gebru’s music for piano and strings, honoring her desire to broaden the interpretation of her work beyond the piano.

Led by pianist, composer, and Emahoy’s friend Maya Dunietz, a nine-piece string ensemble performed her compositions during two tribute concerts at the Bourse de Commerce in Paris, in April 2024. This album celebrates the centenary of Emahoy’s birth and commemorates the first anniversary of her passing.

The album marks the culmination of a journey that began nearly two decades ago, in 2005. While browsing a London record store, pianist and composer Maya Dunietz and conductor Ilan Volkov discovered a CD by Emahoy Tsege Mariam Gebru, released as part of the acclaimed ‘Éthiopiques’ series. Intrigued, they sought out the esteemed musician, eventually locating her in a small monastery in Jerusalem. Their initial meeting blossomed into a deep, lengthy conversation. Emahoy recounted her life in the monastery and the challenges of making music in that setting. They delved into her music, discussing it in great detail. When they asked Emahoy about notation, she invited them to read her notebook, which contained compositions written that very morning. Maya and Ilan played some on the piano. At that moment, Emahoy began to trust them. Before leaving, Maya wrote her phone number in Emahoy’s notebook and invited her to call if she ever wanted or needed anything.

A few years later, the call came: Emahoy invited Maya to the monastery, handing her a couple of wrinkled old Air Ethiopia plastic bags filled with hundreds of her composition manuscripts. She asked Maya to help create a book of her piano compositions, making them accessible to people around the world. Faced with such a monumental undertaking, Maya partnered with the Jerusalem Season of Culture to embark on this ambitious project. This collaboration resulted in the publication of a book of sheet music and a collection of essays in 2013, as well as numerous concerts performed worldwide. These concerts, along with Maya’s work on Emahoy’s music, grew from a deep bond of love and mutual respect between the two women.

During one of their many meetings, Emahoy mentioned her dream of arranging her songs for orchestral instruments. She remarked that it was too late for her, but, with her trademark smile and a wink, suggested: «Maybe you could do it?» For Maya, this tremendous compliment became the catalyst for all the string arrangements she would create for Emahoy’s beautiful music—arrangements now collected in this album after years of collaboration and discussions between Maya and the record label Latency.

This album celebrates the centenary of Emahoy Tsege Mariam Gebru’s birth and commemorates the first anniversary of her passing. All compositions were recorded during two tribute performances at the Bourse de Commerce in Paris, held in April 2024 in her memory.

Produced by Matthew Halsall, Gondwana Records is delighted to announce Horizons the debut album by Leeds-based saxophonist, composer and band-leader Jasmine Myra Jasmine Myra is a saxophonist, composer and band leader, based in Leeds. Part of the bustling, creative, cross-genre music scene in Leeds (she attended Leeds Conservatoire) Jasmine has surrounded herself with some of the best young talent in the city. Her original instrumental music has a euphoric and uplifting sound, influenced by artists as diverse as Kenny Wheeler, Bonobo, Olafur Arnalds and Moses Sumney – artists whose music shares an emotive quality that you can also hear in Myra’s compositions. Her first break came in 2018, when just one year after graduating she was selected to take part in Jazz North Introduces, a scheme that supports emerging jazz artists in the North of England. Shortly afterwards her music came to the attention of Gondwana Records boss Matthew Halsall, whose keen ear for talent helped bring the music of GoGo Penguin, Mammal Hands and Hania Rani to the wider world. Halsall explains: “I was immediately drawn to Jasmine’s music. I could hear jazz, electronica in her music but with a deep, honest, emotional quality. I was really impressed with her skills as a composer and bandleader, that she is open and intelligent enough to bring all those influences together, to make something fresh and original. We were also delighted to work with a young artist from the North of England. London is often seen as the place to be, but cities like Manchester and Leeds are full of creative musicians too, and that sense of local community is at the heart of our values as a label.” Beautifully produced by Matthew Halsall and mixed by Portico Quartet collaborator Greg Freeman, the music for Horizons started to come together during lockdown. It was a hard time for a lot of people, and initially Myra struggled mentally, deprived of shows and the connections of making music with her band and friends, and cut-off from loved ones she felt emotionally and mentally stranded. But she also realised what she wanted as an artist and the result is heard on Horizons. “I realised that my aim was to start writing music that made people feel happy and uplifted. Writing is one of my biggest passions, but I also love performing. Playing live and seeing the audience connect with my music and have a positive experience brings me so much joy”. This sense of elevation is at the heart of Horizons, together with the feeling of a journey, of reaching new ground. Prologue and Horizons were originally composed as one piece as they encapsulate Myra’s own personal development as she worked on the album - taking the listener on a journey, especially Prologue; and then Horizons is that moment of release when you've reached the end goal. 1000 Miles takes inspiration from the music of Shabaka and the Ancestors. Whereas Words Left Unspoken was written after Myra’s grandmother unexpectedly passed away in June, and due to Covid restrictions she was unable to visit her before she passed and say how much she loved her. Morningtide is a nod to Kenny Wheeler, particularly the track Opening from Sweet Time Suite on Music for Large and Small Ensembles but Myra also puts her own spin on it as she also does with Promise, another track influenced by Wheeler. Awakening has a calm and euphoric quality and represents that sense of problems lifting, or of reaching the other side, and New Beginnings finishes the album with a positive vibe and a sense of moving forward from darkness This then is Horizons. A soulful, emotional and up-lifting debut from a major new voice. A snapshot of a young artist at the beginning of her journey - drawing on jazz and electronica influences to create something fresh and new. But also a celebration of her home town Leeds, and a record built on a sense of support and community before looking out to wider Horizons.

Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint. The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience – at once forlorn and eerily calming – through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus. Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music. Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time.

Gavin Bryars was born in Yorkshire, England in 1943. His first musical forays were as a jazz bassist working in the early 1960s with improvisors Derek Bailey and Tony Oxley. Bryars later worked with composers John Cage and Cornelius Cardew, founded the Portsmouth Sinfonia and collaborated with Brian Eno on his famed Obscure imprint. The Sinking of the Titanic, Bryars' first major composition, was inspired by the tragic event of the British passenger liner's cross-Atlantic maiden voyage. Bryars eloquently reconstructs the passengers' experience – at once forlorn and eerily calming – through assemblages of understated strings and indeterminate elements. A core principle of the piece is that the ship's band continued to play as the vessel went down. One of the most sublime works in the modern classical canon, Titanic remains Bryars' magnum opus. Jesus' Blood Never Failed Me Yet, the album's second sidelong track, is based on a tape loop of a London street singer captured in the early 1970s. Featuring Derek Bailey, Michael Nyman and John White, Bryars' composition gradually builds around the cripplingly poignant voice until its emotional force is almost too much to bear. It's no surprise that Jesus' Blood is known as Tom Waits' all-time favorite piece of music. Produced by Brian Eno in 1975 as the inaugural release on Obscure, The Sinking of the Titanic draws the listener in to a majestic world. While these exquisite, hymn-like recordings have not changed in nearly 50 years, their deeply personal nature and the audience's attention to their subtlety have only strengthened over time.

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

Experiments In Psychoacoustics, Timbre & Minimalism: 2011-2021

Late Music and Disciples are pleased to present the first and second volumes in an archival series of selected electronic and acoustic works by Sarah Davachi, all previously unreleased in the vinyl format. Featuring (way) back catalogue material from various CDs, cassettes, and EPs; singles and original film scores; as well as miscellaneous live and studio recordings.

“Something for everyone”

Robert Haigh made his trilogy of piano solo albums (‘Notes and Crossings’, ‘Anonymous Lights’, and ‘Strange and Secret Things’) during 2009-2011 and ‘The Silence of Ghosts’ in 2015 for Siren Records. The tracks for each of these releases were carefully selected with consideration for the flow and development of the project. Inevitably, for various reasons, some tracks did not fit a particular album and they have remained unreleased regardless of their quality. 

The original plan of the “Tempus Fugit” release was, as the subtitle suggests, to collect and assemble rare and unreleased tracks into an album. However, in the process of his compiling the tracks, Robert noticed that the project was developing into an album that had a flow and narrative of its own. Considering the structure and progression of the album, Robert carefully curated ten pieces from his recording archives (including three tracks left over from the Unseen Worlds period) and arranged them to make the best sequence selection.

As a result, “Tempus Fugit” has grown into a unique album with its own sense of flow, though none of the tracks were recorded with the aim of making this particular album. “Tempus Fugit” will be a parting gift to those who have followed his works while at the same time, a useful selection as “young person's guide to Robert Haigh” to those who have yet to open the door of his music. 

The album opens with ’Slow Water.’ A distant and plaintive piano melody evolves with ghostly harmonies through a reverb soaked landscape. ’The Wind Blows Black’ is an improvisation on a theme where discordant piano figures tumble over fragile descending chords. ‘Sub Rosa’ and ‘Broken Bones’ are Haigh at his most melodic, conjuring up the feel of tracks such as ‘Clear Water’ and ‘Portrait with Shadow’.’ In A Space’ slightly predates the first Siren release and wouldn’t be out of place on an early Budd and Eno album. The album closes with the ghostly ‘Tesselate Air’, a slow-moving ambient trip across a misty and shadowy terrain, slowly fading to silence. And the silence is significant as Robert is insistent that there will be no more releases after this.

Written and produced by Robert Haigh. Mastered by Denis Blackham at Skye Mastering. Sleeve artwork by Robert Haigh. Additional design by Saul Haigh.
 

Robert Haigh, long known as Omni Trio, is a veteran electronic and “ambient drum and bass” innovator. Strange and Secret Things, however, is solo piano. Now, when someone sits down at the piano and plays slowly and pensively, it is easy (and usually lazy) to immediately draw comparisons with Erik Satie, and “Revenant (Prelude)” and “Secret Codes (Prelude)” are in fact reminiscent. A nod, perhaps. Otherwise, Haigh’s seventeen miniatures are hardly strange and if they possess some secret, he seems more than willing to share it with us. He plays a crisp and clear piano, deliberate and intimate. 

On this final entry to a trilogy, voltage is mainly used to run the recording equipment, with the rare wisp of a whit of a scent of electronics—a dragonfly following him “Across the River,” a shimmer quietly underlining “Dark House,” synthesizer arabesques decorating “Piano with Generative Tones” and what sounds like a violin (but could be a female soprano) sampled and played backward on the closing “Requiem.” Whether circular or linear, these tuneful, minimal melodies are truly precious pieces, black-and-white snapshots only just beginning to yellow and curl at the edges. 

Housed in the sturdy, handmade mini-LP packaging which has become the distinguished and distinguishing hallmark of Siren, Andrew Chalk’s Faraway Press’ Japanese sister label. 

Robert Haigh continues on in his post-Omni Trio musical world, releasing a type of contemporary classical/ambient music that is piano-based and bridges the worlds of Aphex Twin (in the Richard James’ quieter moments), Max Richter, Eno and Chilly Gonzales. These, as with the instrumental pieces on recent-enough Haigh album, the gorgeous Darkling Streams, feel all at once like demo-versions and finished pieces; the writer sitting down at the keys and shaking loose a few ideas. Stopping to find them as close to fully formed as they’ll ever be – art that’s never finished, simply discarded. 

These pieces hint as nostalgia and quiet moments of contemplation, they, once again, feel like they’ve come from the school of film composition – more so than from any techno/drum’n’bass world (where Haigh, of course, has operated so successfully). 

These are soft sketches. We listen in, almost eavesdropping, catching just the bit in the middle – longer intros or outros could change any one of these pieces into an album-length work, but these snapshots still seem correctly bound together. 

It’s quietly powerful stuff. 

Shadowy musical figures, breathing spaces within the notes, the slightest feeling of unease trickling in and around these moments that – mostly – frame up a type of tranquillity, create a calm, a balm, a day-spa soundtrack with depth, warmth and intrigue. 

Once again Haigh has offered up the very best from his soul for the wee small hours, for those moments after first waking or to guide you as you slip off into a strange and wonderful dreamland. 

Human Remains follows Creatures of the Deep and Black Sarabande as the final installment of a trilogy of piano based recordings by Robert Haigh for Unseen Worlds. The trilogy marks the end of the late era of solo albums by Haigh before he steps away from music production. The title, Human Remains, was initially based on a painting of the same name by Haigh that is suggestive of an ancient structure resolute in the wake of overwhelming forces. As a metaphor for our current times, it could be interpreted as human frailty in the face of nature’s unyielding dominion. Conversely, it could represent the persistence of human spirit and resourcefulness in the midst of catastrophe and upheaval. The album opens with 'Beginner’s Mind' – a semi-improvised motif develops into an impressionistic refrain. This is followed by "Twilight Flowers" and "Waltz On Treated Wire" – intimate, monochrome piano portraits. Later tracks such as "Lost Albion" and "Signs Of Life" build on skeletal piano motifs with subtle electronic washes, textures and field sounds. The album ends with the elegiac "On Terminus Hill" where a stately piano refrain explores a series of sparse harmonic variations evoking a sense of closure.