Since 2006 the Portugese duo of Marta Ângela and João Artur (CALHAU!) have been quietly labouring away on their wonderfully tilted practice, embracing music, text, film, and visual arts on a path that has included performances, exhibition projects and several artistic residencies. For this new release on Takuroku they take influence from medieval Galician-Portuguese songs/poetry of insult and mockery called cantigas d'escarnio e maldizert. A carnivalesque sense of play, pathos and absurdity haunts the 33 minutes run time as they shift between sung and spoken incantations, baroque organ dirges, junk-yard musique concrete, layers of tape mush and sonic trickery. Although medievil in theme, there is a particular timelessness to proceedings. One of the main instruments CALHAU lists is "the ghosts of an old cassette re-recorded thousand times during the last 20 years" - with sounds fermented and rendered into beguiling forms. Another is "a crappy electric organ from 1980 called ORION", which dispels both baroque and twisted sonics from its tired engine. When first listening to this it instantly brought to mind the late Ghédalia Tazartès, who sadly passed away this year. Similar to Ghédalia's work this is ageless, contradictory, old, new, sad, strange and often hilarious music. Music that fearlessly reveals its multiple facets to slowly unfurl its twisted, tender core. -- CALHAU are Marta Ângela and João Artur -- Mastered by Oliver Barrett

Lament & Rejoice is a debut album by a Finnish experimental musician Juho Toivonen.Dubbed on to a 30-year old Hardcore Punk tape found from Toivonen's rehersal room in Pori, the hissing album experiments with continuous sound created either with clarinet, viola, synthesizer and chants - or just with piano and synthesizer.In these two pieces you'll find sounds and energies being emancipated for the purpose of unity.Thank you Charlotte.Performers: 1. Lament - Juho, Saija, Antti2. Rejoice - JuhoArtwork by Dima RabikCassette layout by Kryptinen Käki

Recorded live at Ringoya Tokyo, Japan - June 2008. Originally released by U-Sound Archive as a CD-r in 2008. Reissued by AKTI Records as a CD in 2021. --- Tetuzi Akiyama / acoustic guitarTom Greenwood / acoustic guitar --- Original mastering of the CD-r by Toshimaru NakamuraRe-mastered by Pasi Salmi at Pori Film Lab Studio Album art: Heikki HautalaLayout: Kai Johansson

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call. --- Bloomsbury Press, 2021

This first-time vinyl reissue comes with bonus 7-inch, inserts and 20-page booklet. --- Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex - a name chosen for the ease and speed with which it could be spray-painted onto a wall - have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Disturbing Domestic Peace, The Ex's debut album, appeared mere months after their first single, 1980's All Corpses Smell The Same. Originally released on the band's own Verrecords (they made up different label names with each record), the LP falls squarely within a punk idiom and, at the same time, shows this influential Dutch group's restless energy. Terrie Ex's guitar serves up vectors of percussive pulse, fraying the edges of the music's squared-off rhythms. Vocalist G.W. Sok - an anarchist Dziga Vertov with a mic - observes, declaims and condemns across a set of interrelated political concerns that would return in Ex-music for years to come. While The Ex channel the poise and principled attack of Crass or Flux Of Pink Indians, they create a unique declamatory sound all their own - trailing brilliant flashes of color in the wake of punk's monochrome palette. Offering ten songs in only twenty-two minutes, Disturbing Domestic Peace lays bare a vivid snapshot of a truly singular band who (at the time) were just finding their feet.

Patrick Ward’s performances are dynamic contractions of his gallery installations in which video sequences designed for multiple screens are 'stacked’ within a single frame. Following up his Retroversion/s performances at Cafe Oto Ward’s Video Evidence presents a collage of sounds sourced from old VHS tapes, incidental phone footage and barely viewed YouTubes. Edited and mixed in Tottenham, September 2021 -- Mastered by Oliver Barrett