Cartographie de rythmes is a sound exploration guided by an imaginary map of rhythm, offering as many possible poles to navigate between. The first part of this cartography, Vitesses approchantes (Umlaut Records, 2021) for two percussionists - Sylvain Darrifourcq and Toma Gouband -, focused on the notion of phase shift through falsely repetitive motifs whose slight variations in speed generate sonic illusions. In this second part, Cardiaque, it is the relationship between text and music that constitutes a new crest line: how to listen to the language's rhythm while respecting the rhythm of the music. "Rhythm" does not mean the same thing while talking about music or text - and we would like to preserve the vitality of each field: like the beat created by two frequencies, the two rhythmic logics generate new interferences without losing their singularities. Julien Gaillard's texts are intertwined in a montage that allows us to travel from note-taking to poem. His voice mingles with that of Aurélie Maisonneuve and the tone of Fabrice Arnaud-Crémon's clarinet: together, they carry these textures made of truncated cycles, frames and breaks. The theme of the heart runs through the cycle: accelerations and phase shifts, thresholds between periodicity and arrhythmia, in the light of questions of breathing and heartbeat, take on a singularly organic dimension: the exploration of rhythm becomes an exploration of body states. --- Recorded in June 2022 at Athénor - Centre National de Création Musicale (Saint-Nazaire)Engineering and mastering / Ananda ChererDesign / atelier informationCare / Ronan Le RégentProduced by Athénor scène nomade - CNCM incollaboration with La Maison de la MusiqueContemporaine.

LP reissue of Collective Calls, the first duo LP from Evan Parker and percussionist Paul Lytton. Mythically alluded to as ‘An Improvised Urban Psychodrama In Eight Parts”, Collective Calls utilises electronics, pre-records and homemade instruments to wryly in/act self investigation. Having just recorded the cliff jumping Music Improvisation Company with Derek Bailey, Christine Jeffrey, Hugh Davies and Jamie Muir, Parker was at the point where [he] was thinking, ‘what’s the next thing?’ On Collective Calls, only the 5th release to appear on the newly minted Incus label, percussionist Paul Lytton arrives with an arsenal of sound making sources to push Parker into ever new territory. Recorded in the loft of The Standard Essenco Co on Southwark Street by Bob Woolford (Topography of the Lungs, AMM The Crypt), Collective Calls has more in common with noise or music concrete than with jazz; sitting comfortably alongside Italian messrs Gruppo di Improvvisazione Nuova Consonanza or the husband-wife duo of Anima Sound. According to Martin Davidson, it was a Folkways record called Sounds of the Junkyard that Lytton was obsessed with around the time of this release - its track titles like “Steel Saw Cutting Channel Iron in Two Places” working to give you a good idea of the atmosphere of Collective Calls. Paul Lytton had encountered the use of electronics in music in 1968 when he was invited to play drums on the recording of An Electric Storm by White Noise (along with David Vorhaus, Delia Derbyshire and Brian Hodgson). He had seen Hugh Davies using contact mics in the Music Improvisation Company, and soon set about assembling a Dexion frame akin to drummer John Stevens’, except that his own was armed with several single-coil electric guitar pickups, long wires and strings with connected foot-pedals to modulate pitch. Influenced as much by Stockhausen, Cage and David Tudor as he was by Max Roach and Milford Graves, Lytton’s percussion is abstract, expressionist and at times totally mutant. Sometimes rolling extremely fast, then screeching almost backwards over feedback, Lytton gives Parker room to play some of his weirdest work. Parker is listed as performing both saxophones, his own homemade contraptions, and cassette recorder - regularly thickening the already murky brew by playing back previous recordings of the duo. Imagining their set up in a 70s loft, it’s an assemblage more akin to what today's free ears might see at a Sholto Dobie show, spread out on the floor of the Hundred Years Gallery, the shadow of Penultimate Press lurking in a corner. It’s a testament to Parker’s shape shifting sound - the ever present link to birdsong being at its most warped here - terrifically free and unfussy, wild and loose from any of the dogma that might come in later Brit-prov years.

After the album Calques recorded live during a concert, Novembre returns with Encore, a double studio album,the result of a long maturation in terms of form, composition and playing. As they have been doing for more than ten years, Romain Clerc Renaud and Antonin Tri Hoang have constructed a complex poetic form, made up of multiple back-and forths between simple and gentle themes (Encore, Petit Matelot) or very fast ones (LetCo, Klaxon); between very short pieces (Miniatures) and large developments (Continuum). Everything is arranged by the play of contrasts and resonances: a piece is interrupted to be continued later (Please wait), a motif is metamorphosed by dint of repetition (Encore), a piece is played again, but as quickly as possible (Letco Flash). The second CD of the album illustrates another side of the art of montage. Marc Baron recorded Novembre while they were working on Encore, using the most varied materials and techniques (tape recorder, hydrophone, boom box, spring, tape loops). With this harvest he has constructed an electroacoustic piece that diverts, amplifies and transforms the music of Novembre. --- CD1 Compositions by Romain Clerc-Renaud and Antonin- Tri HoangRecording: Antony - July 2021Engineering and mixing: Erwan BoulayMastering: Pierre Luzy, Music Unit CD2Electro-acoustic piece by Marc Baron, produced in the studio in the summer 2018 from recordings of the band Novembre.Design: Galilée Al Rifai

"With Clippy EM272 mics clipped on my backpack, I commuted and recorded in various locations to capture what's bluntly obvious to all of us here, I'm certain of. It is about what's been passed down, the pedigree of our people, hastily constructed to pick up the phase of the west, that I've known for my entire life and a part of my life. No good or bad, but just the way it is. I see much beauty here in my city's streets, when the unfavored sides are seen in the same scope. They are inseparable." – Suk Hong Otoroku is delighted to present this enrapturing, multifaceted release from South Korean sound artist, Suk Hong 홍석민, recorded in and around Seoul. At first the rapid procession of sounds in Pedigree's four parts - both found and performed, worldly and domestic - can seem bewildering; streetscapes merge with dissonant organ sounds, snatches of conversation blend with the hum and rattle of transport, electronic tones trade space with grunting pigs and homely rituals. The sound worlds seem to flit from one headspace to the next, giving the listener just enough time to acclimatise to each sonic environment before changing up the scenery again. But give yourself over to the restless momentum and the true expanse of the composition becomes clear, ultimately revealing itself to be something both transportive and profound. With each listen, more is disclosed. The effect is akin to looking at reflections upon the surface of a body of water and then letting your eyes readjust to the world beneath, teeming with life. Pedigree seems to exist in this moment of tension between the surface and the depths, favouring neither but revelling in a state of endlessly unfolding transition. -- - All tracks by Suk Hong- Mastered by Oli Barrett- Cover photo by (stephan) – image licensed under the Creative Commons Attribution-Share Alike 2.0 Generic license

Under the name SBATAX, Bertrand Denzler and Antonin Gerbal continue their exploration of flow, speed and patternsby exacerbating the sound of their saxophone-drums duo. The furrow they dig ends up forming spirals thatgradually migrate towards regions where movement becomes a texture that floats in the wind. Bertrand Denzler and Antonin Gerbal have been working together since 2011, both as a duo and with bands and projects such as Zoor, Denzler-Gerbal-Dörner, Onceim, Horns+, CCP3 or Protocluster, whose albums have been released by labels such as Umlaut Records, Confront Recordings and Remote Resonator. --- Music by Bertrand Denzler (Suisa) and Antonin Gerbal (Gema-Sacem)Recorded at Curved Pitch, Saint-Ouen, France, June24th 2022Engineered by SbataxMastered by Jean-Pierre Bouquet, L'Autre StudioPhoto by Benjamin DenzlerDesign by Erica Saïdah

This recording from the earlier years of Cafe Oto documents the impossible pairing of four contemporary giants. Its one of those miraculous one off groupings that reminds us why the venue opened in the first place.’ “The magic of the first minutes – an alto solo by Joe McPhee of true purity – soft-spoken, masterful and accomplished – brought back to mind the blissful Coleman/Haden duet last year at the Royal Festival Hall. ‘Ornette gave me freedom to move in a certain way,’ said McPhee. He searched hesitantly and carefully for his words, all the more surprising from such an articulate musical (or, as he might say ‘muse-ical’) practitioner and campaigner. Coleman’s 80th birthday coincided with McPhee’s stint at Cafe Oto. McPhee and his co-musicians delivered an intense performance which was both creative and restrained. With Evan Parker ‘s tenor in tow – a collaboration going back to the late 70s – and Lol Coxhill, sitting with head bowed intently, a soprano master – it could have gone anywhere, yet they worked off each other, often in the higher registers, building up almost bird-call like interactions and trills. Earlier, Chris Corsano‘s drumming presented a dense bedrock for McPhee to play against, and his solo spell was a crisp exercise in sonic curiosity. McPhee picked up his soprano mid-way through the second set, heightening the lyricism of the three saxophones. Then, being a devotee of Don Cherry, he switched to pocket trumpet, allowing him to interject, and punctuate the concentrated sound layers built up by the quartet, and lead the music out through a different door”- Geoff Winston (londonjazznews.com) Recorded 10th March 2010, this is also a document of the only time Lol Coxhill and Joe Mcphee shared the stage. The recording is a little rough, but hey, so was your birth! Limited to 500 copies packaged in mini gatefold sleeve.