MUSIC

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

Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious. After releasing her sophomore album Inner Song in the midst of the pandemic, Kelly Lee Owens was faced with the sudden realisation that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo instead. There was no overarching plan, it was simply a change of scenery and a chance for some undisturbed studio time. It just so happened that her flight from London was the last before borders were closed once again. The blank page project was underway. Arriving to snowglobe conditions and sub-zero temperatures, she began spending time in the studio with esteemed avant-noise artist Lasse Marhaug. Together, they envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Kelly’s creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Kelly called her label to tell them she had created something of an outlier, her ‘eighth album’. Lasse Marhaug is known for hundreds of avant-noise releases, previously working with the likes of Merzbow, Sunn O))) and Jenny Hval, for whom he produced her acclaimed albums Apocalypse, Girl, Blood Bitch and The Practice Of Love. A label mate of Kelly’s, Marhaug has recorded for Smalltown Supersound since 1997. Welsh electronic artist Kelly Lee Owens released her eponymous debut album in 2017 and followed this up with 2020’s Inner Song. She has collaborated with Björk, St. Vincent and John Cale. In April, she returns with LP.8.

On her debut album Belgian based multi-instrumentalist Ann Eysermans explores the possibilities of the train as a music instrument: a deep quest into a fascinating and mesmerizing world, which started as a five year old kid, when she climbed on board of the train helm station during a trip from Antwerp to Ostend. For the compositions ‘Prelude and Fuga For Four Diesel Locomotives And Harp’ Eysermans had the chance to capture the sounds of diesel locomotives (HD 51, 54, 55 and 60) of the Belgian Train World Heritage collection. Microscopic hissing vibrations of steaming engines slowly entwine and resonate with fragile harp playing, getting on track for an unconventional sonic rail journey. A melancholic odyssey of sound in motion: Ann Eysermans let the sparkling harp notes dissolve into the tones of pulsating train wheels. On the B-side she bends her soft singing voice around deranged horn melodies in ‘Le Départ’, connects delayed organ harmonies in ‘De Vertraging’ with the dying frequencies of a trembling and humming locomotive from the 60’s. On the key track ‘For Trainspotters Only’ Ann Eysermans assembles a hauntingly piece of musique concrete with clanging chimes, broken music boxes, ghostly whispers and throbbing machine room sounds. A lonely barking dog and the last train announcement on a desolate platform in ‘Chorale’ also mark the last part of this spellbinding record. On ‘For Trainspotters Only’ Ann Eysermans takes you on an immersive and meandering ride, connecting the dots between the free spirit of Alice Coltrane, the orchestrated field recording compositions of Chris Watson, Basil Kirchin soundtrack vibes and the magic realism of Claire Rousay.

In 1989, pianist and composer Yumiko Morioka put together a group of diverse street musicians and semi-professional players for a project that would come to be called the Synergetic Voice Orchestra. Inspired by Yumiko’s love of different musical cultures from around the globe, the band drew on influences from India, Ethiopia, Mali, Korea and China to create an album that merged these sonic identities with more traditional sounds from the southern Japanese city of Okinawa. Having released her solo piano record Resonance a couple of years earlier, Yumiko was thrilled when offered the chance to make an album of ‘any kind of music she wanted’. She pulled together artists she knew or had seen playing from in and around Tokyo, many of whom were self-taught and could not read music. It wasn’t always easy for Yumiko, a classically taught musician, to work with others who lacked her formal training. But by employing the synergetic principles of American architect and theorist Buckminster Fuller, she fostered an environment where the results of the group had a larger impact than that of the individual. This approach brought a real energy to her compositions and the resulting recording sessions produced MIOS, an exploratory, creative work that felt alive with free-wheeling creativity. Nothing was off limits. The drummer, who ran a vegetable stall by day and practiced in a cemetery at night as to not disturb his neighbours, utilised old washing machine parts for some of the percussive elements. Although Synergetic Voice Orchestra would eventually morph into a new band, leaving MIOS to exist as a singular moment in time, the album remains as one of Japan’s true hidden treasures. Originally a CD only release, MIOS now comes to vinyl for the very first time, complete with brand new artwork by Elvis Barlow-Smith.

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

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

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

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

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

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

The Czech group Gurun Gurun is made up of Tarnovski, Tomáš Knoflíček, Federsel, and Ondřej Ježek. who took their name from the fictional planet in the old school Slovak children’s TV show She Came Out of the Blue Sky. Uzu Oto is his first album for the Peruvian label Buh Records. Since the beginning, it has been clear that apprehending their working and reflecting it would be a tough nut to crack. Is this even a band? Do they play compositions or is it all improvised? On the stage, you see four men hunched over tables overflowing with strange objects, hard-to-identify electronic devices, musical and non-musical instruments, and a chaotic tangle of cables, producing slow, constantly developing melodies and a hypnotic atmosphere that works a little like falling through a strange wormhole full of sounds, noises, and soft female vocals, mercilessly sucking you in, forcing you to collapse into yourself and enter a parallel universe. They have played concerts across Europe, including London’s Café Oto, as well as successfully touring Japan. They have shared the stage with artists including Michael Gira, Tim Hecker, Robert Aiki Aubrey Lowe (Lichens), Keith Fullerton Whitman, Kate Carr, and Lichens. This new album, Uzu Oto, was also created in concert – each track at a different show. Despite this fact, GG do not consider it a traditional live album. And as this group generally exists independently of our common conception of time, the history of the new recording reaches back to before theird previous record, Kon B. Uzu Oto features the Kyoto-based singer Cuushe and Asuna, a sound artist from Kanazawa. The LP cover is by Czech artist, inventor, and sonic anarchist Petr Válek. Attending a Gurun Gurun concert is like taking part in an expedition by a pack of monkeys to explore the wreckage of a spaceship that was shipwrecked a long time ago. Their improvised live sets are a mix of post-club-music deconstruction, metamorphosed acoustic and electronic sounds, generative music, and musique concrète. This is also the spirit of Uzu Oto. No, this is not music to play while you wash the dishes. Or perhaps it is, but you have to factor in the fact that the dishes will become a tangle of roots, threads, ropes, lianas, and spider webs. And that your entire kitchen may well catch on fire.

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

オリジナル盤カセットは最早入手不可能にも近い一枚！配給元最終ストック。ウクライナ出身の作曲家、映像作家、ライターであり、70年代中盤から90年代にかけてスペイン・マドリッドの前衛音楽シーンで絶大な影響を誇っていたIury Lechが同国地下実験音楽の聖地〈Hyades Arts〉より1989年に発表した1作目のアルバム『Otra Rumorosa Superficie』が〈Utopia Records〉からアナログ・リイシュー。〈Grabaciones Accidentales〉の〈El Cometa De Madrid〉（マドリッドの彗星）シリーズで紹介されたアクトを筆頭に筆頭に独創的なアーティストたちが世界でも類を見ないクリエイティヴなシーンを興隆させたマドリッド音響派周辺のシーンを代表する１枚。先に再発されていた次作同様、天上風景を醸すモダン・クラシカルの傑作ですが、こちらにはよりアヴァンギャルドかつ仄暗い影を滲ませており、深い内省を感じさせる一枚となっています。そこ知れず幽玄にして幻影的なモダン・クラシカルの傑作。180g重量盤。限定300部。

Tibor Szemző presents two compositions on his new album Snap #2 – The Other Shore and the first release of his CUBA. As the title implies, Snap #2 can be considered a sequel to his cult album Snapshot from the Island (released in 1987, 2000 and 2020). In that first album the island was a metaphor for isolation and now Snap #2 offers Szemző’s reflections of his visits to real islands, Cuba in 1988-1990 and Japan in 1992-1994. As usual, Tibor Szemző processed the themes both visually and musically and has presented them many times live as cinematographic performances. The previous version of The Other Shore was released in 1999 on CD. On this album the original recording from 1997 is used; it has been recomposed, remixed and remastered and some additional recordings have been included. The core of Szemző’s Gordian Knot ensemble of the mid-nineties (Tibor Szemző on bass flute, Péter Magyar on drums and Tamás Tóth on bass guitar) has been enlarged by a string section and additional percussionists. The Other Shore composition has a multilayered texture; it starts with strings and is followed by prerecorded voices reciting the Sutra of the Lotus Flower of the Wonderful Law (Myôhô-Renge-Kyô in Japanese), the most important sutra of Mahayana Buddhism. Then percussion introduces the basic beat of the piece and the voice of the 102 year-old Buddhist priest Ônishi Ryôkei giving a lecture on Kannon sutra is heard. The following uneven entries of drums and bass guitar are like paint brush strokes in Zen calligraphy. The long tones of Szemző’s bass flute enters the piece as the last element suggesting itself as a connecting thread through all previous layers. When Tibor Szemző first visited Cuba in 1988 he had just started shooting film on 8mm, something of a personal diary. When he met Jonas Mekas in Budapest a few years later, he realized that this footage could be screened publicly and also be an integral part of live performances. CUBA, presented on the Snap #2 album, is the recording from 2000 of one such performance and was remixed by the author in 2021. It is as similar to and yet different from The Other Shore. The Gordian Knot band seemingly structures the piece in the same way, but the resulting sound is much heavier especially thanks to drummer Péter Magyar. Nevertheless, the contributions of Szemző on bass flute, Mihály Huszár on electric bass and T. Bali on prepared electric guitar also inject the proper rock sting. Incorporated Havanna street sounds and local radio broadcasts recorded by the author provide even more steamy roughness to the sound of Szemző’s CUBA. The cover design of the Snap #2 album with photo reproductions from Szemző’s films reflects the aesthetics of the Snapshot from the Island album. This vinyl LP runs at 45 RPM for better sound quality.

This sprawling collection by Belgian loner blues savant Bram Devens aka Ignatz encapsulates the mystery, murk, and melancholy of his uncanny craft at its most windswept and wayward. Originally issued via Goaty Tapes in September of 2015, this long-anticipated vinyl edition expands the saga with an additional 17 minutes of archival material. Deven’s palette remains constant throughout: feathery fingerpicking, modal loops, and intuitive six-string navigations interspersed with candlelit passages of mournful voice, alternately whispered, mumbled, moaned. His is an aesthetic of embers and resin, cracked masks and distant lights, of what’s left behind and what lingers on. I Live In A Utopia was recorded following a relocation from his longtime base of Brussels to Landen, with a second child due soon: “I remember the weather being nice and having just bought a hammock.” The change of scenery seeded a promise of slower days and lighter times – no utopia perhaps, but a sense of faint hope glowing on the horizon. The songs slide between loose acoustic spirituals and smoky basement ragas, late afternoon haze and midnight moons, a seesawing restlessness reflected in the titles (“I Have Found True Love,” “Time Does Not Bring Relief,” “We Used To Smoke Inside”). The fidelity is grainy but vivid, refracted by tape warp and Flemish dust. As always, Deven’s playing is deceptively elegant, raw but precise, attuned to resonance, radiance, and negative space. Echoes of Fahey and Jandek reverberate in certain moments but ultimately the world Ignatz maps is one incomparably his own. A landscape both doomed and dawning, weary but undefeated, tracing outlines of lengthening shadows. “I walk in the sunshine,” he sings, uneasily. This is music of a rare inner wilderness, poised at cryptic crossroads, devoted to its ghosts. I Live In A Utopia stands as an apex work by one of the underground’s most veiled and visionary talents.

Originally released on Prestige in 1957, this is the third LP from NYC street performer and avant-garde/minimalist composer Moondog. Perhaps the least accessible of his early releases, this album is made up of percussive jams, usually on instruments of his own creation, street sounds, poetry, and Far East melodies, despite opening with a swinging number that is, oddly, the most bizarre thing on the album. Another classic from Moondog reissued with its original Andy Warhol artwork. Limited edition of 1,000 on purple and green starburst vinyl.

Modern Obscure Music turns to Japan for inspiration. Suemori debuts on the Barcelona based imprint with an album of striking textures and sounds. From the first track, you can feel the influence of the Far East in both the melodies and rhythms created by Suemori. The music is complemented by Mayte Nicole Esteban’s impressive artwork. Suemori’s real name is Yoshinobu Hoshina. He previously recorded as Hoshina Anniversary. Under this alias, Hoshina released music on labels such as Boysnoize Records and ESP Institute. As Suemori he released the Maebashi album earlier in 2021 on Elena Colombi’s Osàre! Editions imprint. Tawamure is an album of richly textured compositions. Pianos and electronics are equally important. Some tracks are beatless and others have an unorthodox approach to percussion. We begin with the playful yet sombre pianos and strings of Mou Aenaindesune もう会えないんですね. Honshin 本心 has a magical beauty and Konton 混沌 Chaos is as chaotic as you would expect. There is so much to explore on this wonderful album from Suemori.

Legendary performer Nico of the Velvet Underground released his last album in 1985. Featuring The Faction as his backing band, this eight-track album features the lead singer's voice and readings, striding with overwhelming presence through a variety of post-noise, industrial, and improvisational productions.　The album, which is also considered to be Nico's best work in the latter half of his career, includes a cover of the jazz standard "My Funny Valentine". For this RSD release, the album has been remastered from the original analog tapes to 24-bit HD audio, and reissued on blue vinyl in limited quantities.

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

Cellist, composer & sound​ artist Leila Bordreuil takes us deep into the bowels and liminal spaces of a deserted NYC with 40 minute long contrasting works of a tempestuous and sorely enervated nature, played on location in the subway at the Ralph Avenue subway stop in Brooklyn - complete with passing trains, people, and tension in the air. If you’re into anything from Arthur Russell to Lea Bertucci - this one’s a total headmelt. First pinging our radar with her ‘Headflush’ album for Catch Wave back in 2019, Leila Bordreuil has a tactile, extreme approach to the cello, one that focuses on its visceral aspects in a way that mimics the most spirited, fraught and melancholy human emotions. Despite the complex nature of her playing, you can trace Bordreuil's lineage back to Arthur Russell’s defining ‘World Of Echo’ in methodology and spirit - Leila plays with no processing or effect pedals, everything stems from the player, her instrument, and their surroundings. On ‘For Tamio’ - Leila performs in tribute to her collaborator and saxophonist Tamio Shiraishi, whose late night performances at the Spring Street subway, 10 stops away from Ralph Avenue, greatly inspired her own approach to capturing and playing with resonance in the subway. For just shy of 20 mins, she makes the air burn and buckle with a combustible grasp of loud/quiet dynamics and keening discord that has us seat-edge by the end. The setting is evocative to the extreme - the usually chaotic and bustling subway station now emptied of its usual inhabitants, reclaimed as a performance space in which Leila played late into the night - accompanied by memories and echoes of life, as well as a person living in the subway station who started dancing to her music, an engrossed audience of one. In contrast, ‘Past Continuous’ on the flipside was recorded in Leila’s building’s hallway, where she attached a brick to the pedal of a broken upright piano and angled her microphones in a way that gave the illusion of a large reverberant room. Adding sinewaves to enhance natural frequencies, the result is a heartbeat sketch that operates at barely perceptible levels of tonality, working in a liminal space with almost hallucinatory, ghostly overtones and a colossal sub that speaks to the anxiety dreams of a megatropolis in stasis. ‘Not An Elegy’ is a grippingly stark work that owes as much to the city’s history of jazz as it does to experimental classical forms. It's an uneasy but deeply life-affirming trip through the dense fog of memory and modern anxiety, coaxed by a player whose hands shape, and whose feelings ooze through the recordings in a way that’s impossible not to be affected by in the deepest sense. It’s a remarkable document of a time, and an artist, right on the cusp.

A limited edition CD album by The Humble Bee, one of Britain's leading ambient musician has arrived from LA's important label "Motion Ward". The sentimental shadows that bring out this rare charm of this person are drifting like weaving between the hazy ambience and the disturbing hiss noise. A dull ambient / modern classical work beckoned by the footsteps and whispers of "the other side"! Mastering by Ian Hawgood. Best !!!

Continuing the reissue campaign of legendary synthesizer artist Enno Velthuys, we are proud to offer the Different Places LP. The original tape from 1987 was the second tape Enno produced for EXART and it was his last work before he disappeared into obscurity. By this time, he became disillusioned by the cassette network and his mental condition sadly deteriorated. With Hessel Veldman, label owner of EXART, getting more interested in experimental music, they were both moving into different places and eventually lost contact. Enno was a perfectionist, always looking for better equipment. When listening to the original master tape of Different Places it turned out it had a real nice, clean sound. Definitely an improvement over some of his earlier material. While mastering these songs for vinyl in 2021 we tried to stay as close as possible to Enno’s original intentions. Different Places is probably his most coherent work and includes some magical chord progressions. Shades of Erik Satie and Hiroshi Yoshimura mixed with immersive, spacious, cosmic ambient. Melancholic but less claustrophobic when compared to predecessors Glimpse of Light or Landscapes in Thin Air.

The fusion of African and Brazilian culture and rhythm has deeply penetrated into the roots of Brazil, creating an unprecedented source of diverse sounds ……… Marco Bosco, a cosmic presence of Brazilian percussion who has left a masterpiece in the great sacred place of spiritual music , which has received a huge re-evaluation in the obscure context. The original released in 1986 is an analog reprint of a super rare title that does not fall below $100!! From the synthesized world of digital electronics / musical instruments, a very great second world that antagonizes acoustic aesthetics and maximizes the charm of percussion tones, expanding the world of extraordinary sounds and fantasies. album. This is the first vinyl reissue. Don't miss it.

The first album was released on Prestige in 1956. The music is avant-garde and more original than anyone else's in the 1950s, with field sounds from the street and birdsong, percussion and string instruments, and the voice of his wife Suzuko. I have no idea what kind of music was in the background, but it is a wonderful performance full of vitality and creativity born from the depths of humanity. The jacket is a reproduction of the original.