Re-engaging with a traumatic experience in the Gothic Quarter in Barcelona, the narrator of Roy Claire Potter's Entrance Song; last time tells their story through foggy wisps of memory, it's a refracted portal laid out and rendered hybrid in form. An ominous, experimental cross-artform publication brought to life by spoken text passages, recorded sound/music and additional visual PDF document. Rather than directly recounting their experience, the story's narrator focuses instead on Gothic Quarter's architecture, topography, history and people. These details unfurl as weighted shadows of the exterior world that loom over a corrupted memory: a memory that cannot be directly accessed. Accompanying and adding to the text are glimpses of music and field recordings. A piano performance of a piece of sheet music found during a research trip to the Abbey of Santa Maria De Montserrat, field recordings of a violin practice by a fountain and a hidden bass track gift a third eye to the dissociative memory and its surroundings, as well as breathe tonal hues to proceedings. A PDF document includes notes and edits of the text, as well as pictures of the towering churches and spires of the city: overwhelming pieces of architecture with spiked edges and webbed partitions. A fly-trap where words don't tread. A story instigated and evacuated, one last time. -- Entrance Song; last time was written, read and produced by Roy Claire Potter and includes the following field recordings by Lisa Lavery: Courtyard violin practice drippy fountain Rome; Calle de las Cortesías; Train platform bell Sicily. Hidden track Bass Piece was written, performed and recorded by Lisa Lavery. With special thanks to Bridget Hayden for piano instruction and Sam Mcloughlin for recording advice. Proceeds from the sale of this album will go to Rape Crisis UK and Safenet, a domestic abuse charity in Burnley.

While neighbouring city Glasgow prides itself with the self-endowed banner 'People Make Glasgow', the cobbled street capital of Edinburgh lives under the cursed aphorism of 'Inspiring Capital'.  The biggest financial accumulator the city has each year, the Edinburgh Festival, is representative of this apparent 'inspiration': tourists arrive in their droves, Air B'n'b prices sky-rocket, corporate pop-up bars & restaurants lace the streets and the overwhelming majority of local residents get understandably disgruntled.Tucked in a spot in Lochend End Park, 2 of the usually disgruntled locals -  Ali Robertson & Firas Khnaisser - relish in the festival's covid-induced absence over the course of two days, engaging in a delectable jumble of scrape, rattle, pop, twang and whizz. The park is just 0.4 miles from Ali's house and 0.7 miles from Firas's , and it's clear they picked a space for comfy communion. Firas gently plucks shards of melodies and sheets of detuned wonder, while Ali creates tactile moments of intrigue and mischief with his menagerie of objects. Conversations are shared with chip-thieving feathered friends, who hover over the tumbling sound world, clearly intrigued with whatever its ardent creators are serving up. Who needs the Edinburgh festival when you can have a musical picnic with your pals instead?  -- Firas Khnaisser - classical guitar, drum and objects Ali Robertson - amplified objects -- Record live on zoom with almost no edits 0.4 Miles was recorded on 20.07.20, and 0.7 Miles on 24.07.20

  "On those days I had a feeling of everything happening far from the ground. Perhaps because I spent the first two nights completely sleepless: the first assembling a sound installation I had brought over as luggage, and the second one because after we presented the work, we decided to join a party held very high on an industrial building somewhere in Kowloon. It was during the moon festival, but I can’t recall having really seen the moon at all. Only a dark forest around other tall buildings, and the two incredibly pale hands of a dancer that the darkness turned into two white doves. We did this record the next day, and I remember telling Nerve that all my equipment buzzed and fed back very differently, and that it must have been because the electricity in HK had a very different character from the one in Tokyo. I think this music condensates that moment precisely. Two electricities growing in space before discharging." - Aquiles Hadjis, August 2020 -- Aquiles Hadjis - self-made synths & amplified electric stringsNerve - electronics -- Recorded at Twenty Alpha on 16 September 2019

"I first played with Derek Bailey in a quartet with Christine Jeffries (voice) & Jonny Dyani on bass. Thereafter we played mainly as a duo. I had frequented the Little Theatre Club since the late 1960s & was a member of FREE SPACE along with Trevor & the second generation of improvisers, but have no recollection of this gig…...! The AMAZING BAND was Mal Dean’s creation, & I was privileged to be amongst the last personnel & play on the last recordings prior to & after Mal’s demise. Sadly Mick Brannen is also not around to enjoy the release of The Last Amazing Band recordings." --- The AMAZING band were: Mal Dean / trumpet Mick Brannen / alto saxRadu Malfatti / tromboneJohn Russell / guitaMarcio Mattos / bassTerry Day / drums --- Recorded circa Early 1970s . Mixed & mastered by Yadley Day

A selection of solo tracks from Terry Day’s archive albums featuring various instruments played by Terry Day and multi-tracking excerpt. --- Track 1 Ansuman Biswas / voice, percussion.Terry Day / bamboo reed flutes, percussion, balloon. Track 15 John Russell / guitarTerry Day / mandolin Track 17 Davey Payne / saxCharlie Hart / bassTerry Day / drums

Contrast to the earlier ‘Free Jazz’ feel of OMMU music, the flavour of the 1980s music was a tendency towards a more rhythmical feel. --- Davey Payne / saxes, fluteCharlie Hart / bass, violin.Terry Day / drums, piano. --- Mixed & edited by Terry Day. Mastering by Charlie Hart.