Penultimate Press is proud to present the second full length release by the acclaimed French inventor, instrument builder, musician, visual artist, researcher and writer Jacques Brodier.  Following up the 2012 release Filtre De Réalité, Xhos De Villemahu expands Brodier’s vision tenfold with two LP’s worth of inexplicable audio recorded between 2009 – 2016. Operating from Le Havre (France) since the 1970s Jacques Brodier has created a uniquely personal vision that incorporates music writings, paintings and drawings. Over the years he has amassed a large amount of material in all of these fields. The music he conjures from his self built instrument, the Filtre De Réalité (Filter of Reality), harnesses the energies found in shortwave radio, harmonic strings, sensors, sheet metal and rotating glass spheres of sand. The resulting audio shatters time and space with voices of the deep past slamming up against a fantastic present. Frequencies dance in a whirl of frenzied excitement whilst elements of a cosmic science fiction leave a trail of neon lit bewilderment.A vast amount of writings, painting and drawings support the enormous world Brodier has constructed over the years. Xhos De Villemahu is an attempt to capture this substantial and significant world view into a complete package.  Xhos De Villemahu arrives as a deluxe double LP in a gloss gatefold sleeve featuring a 32 page A4 booklet of images, essays and texts written by Brodier for the occasion. Utterly unique in vision and scope, Xhos De Villemahu is absolutely an experience unlike any other. Track Listing: A1            Sortie d’escalator près de la consigne automatique A2            Danse des Chevaux de Bois craignant l’orage A3            Tabla A4            La Cour du Masque de Fer A5            Ils nous cherchent B1            Villemahu, les Couloirs du Temps B2            Déménagement des Anges B3            La Souffrance des Moustiques C1            Machine à Danser Sur Le Feu C2            Promenade au long des Tuyaux Gicleurs du Hasard D1            Danse des Esclapeaux D2            Course en sacs D3            Capsule temporelle D4            Depuis un trottoir, un soir de chaleur D5            Forges d’Hephaïstos

Jacques Brodier – Xhos De Villemahu 2LP

Collection of live performances by free flux improv icons The People Band. Recorded at OTO between 2008 and 2014 and bookended with solos by the late Mel Davis, the clan create a hubbub of frenetic free jazz and chaotic, polyrhythmic thrusts.  The origins of the people band can be traced back to 1965 and the core members of the band had all arrived by 1969 / 70. Although all the musicians involved are playing within other genres - the love and power of this collective has inspired all to maintain and develop the work for over 50 years.  This album is dedicated to the memory of the founder member, pianist, teacher and continued inspiration - Mel Davis - who left us in 2013. Two solo tracks open and close this album by way of our deep respect.  --- Mel Davis / piano, thrumb piano, perc.  Terry Day / percussion, reed pipes etc.  Mike Figgis / pocket trumpet, guitar George Khan / saxes, flute Davey Payne / saxes Paul Jolly / saxes, bass clarinet Charlie Hart / bass, violin Tony Edwards / percussion Adam Hart / piano, trombone  and featuring: Tony Marsh  Maggie Nichols Ed Deane Terry Holman  Ben Higham Dave Chambers Brian Godding and with thanks to: Jim Dvorak Dave Fowler Oly Blanchflower --- Recorded by Arlen Figgis. Mastered by Nick Pugh at Session Corner. New artwork sourced from a Fabio Lugaro photograph. Previous artwork by Gina Southgate (original CD release). Produced by 33 Jazz / Paul Jolly. Thanks to Tim Powell and to the audiences that keep this remarkable band alive, and thanks to 33 Jazz who originally released the recordings as a CD. You can find the CD here.  

The People Band - Live at Cafe OTO

A delight to release the live set from experimental songwriters, Still House Plants. Obscured melodies and minimal song structures are suffused with light, off-kilter rhythms and chords, lolloping cymbals and lilting vocals. The trio are so relaxed with each other you might be drinking tinnies with them in their front room. Romantic without tripping into mushy. God bless Glasgow, thank you GLARC and please come back again soon. --- Finlay Clark / guitar David Kennedy / drums Jessica Hickie-Kallenbach / vocals --- Recorded on Monday 7th November by Shaun Crook. Mixed & mastered by James Dunn.  ─────────────────────────▄▀▄ ─────────────────────────█─█ ─────────────────────────█─█ ─────────────────────────█─█ ─────────────────────────█─█ ─────────────────────────█─█ ─────────────────────────█─▀█▀█▄ ─────────────────────────█──█──█ ─────────────────────────█▄▄█──▀█ ────────────────────────▄█──▄█▄─▀█ ────────────────────────█─▄█─█─█─█ ────────────────────────█──█─█─█─█ ────────────────────────█──█─█─█─█ ────▄█▄──▄█▄────────────█──▀▀█─█─█ ──▄█████████────────────▀█───█─█▄▀ ─▄███████████────────────██──▀▀─█ ▄█████████████────────────█─────█ ██████████───▀▀█▄─────────▀█────█ ████████───▀▀▀──█──────────█────█ ██████───────██─▀█─────────█────█ ████──▄──────────▀█────────█────█ ███──█──────▀▀█───▀█───────█────█ ███─▀─██──────█────▀█──────█────█ ███─────────────────▀█─────█────█ ███──────────────────█─────█────█ ███─────────────▄▀───█─────█────█ ████─────────▄▄██────█▄────█────█ ████────────██████────█────█────█ █████────█──███████▀──█───▄█▄▄▄▄█ ██▀▀██────▀─██▄──▄█───█───█─────█ ██▄──────────██████───█───█─────█ ─██▄────────────▄▄────█───█─────█ ─███████─────────────▄█───█─────█ ──██████─────────────█───█▀─────█ ──▄███████▄─────────▄█──█▀──────█ ─▄█─────▄▀▀▀█───────█───█───────█ ▄█────────█──█────▄███▀▀▀▀──────█ █──▄▀▀────────█──▄▀──█──────────█ █────█─────────█─────█──────────█ █────────▀█────█─────█─────────██ █───────────────█──▄█▀─────────█ █──────────██───█▀▀▀───────────█ █───────────────█──────────────█ █▄─────────────██──────────────█ ─█▄────────────█───────────────█ ──██▄────────▄███▀▀▀▀▀▄────────█ ─█▀─▀█▄────────▀█──────▀▄──────█ ─█────▀▀▀▀▄─────█────────▀─────█ ─█─────────▀▄──▀───────────────

Still House Plants 19.7.16

The experimental Italian composer returns to PAN with a new LP, titled ‘Clonic Earth’. His ongoing output for the label has long-presented his electroacoustic sound compositions where since the mid-’00s, he has utilized analogue live sampling and real-time editing of field and studio recordings by means of manipulation of 1/4 inch tape.Asides from being a founding member of the Italian avant-rock group 3/4HadBeenEliminated, he has worked extensively with various musicians, choreographers and multimedia artists including Thomas Ankersmit, Antoine Chessex, Werner Dafeldecker, Anthony Pateras, and Robert Piotrowicz.His studio compositions, documented on few records, often explore themes of the internal – represented both by the psychological and the physical – and of the occult, which with the use of spoken text makes them often deeply existential works, self-investigations of the psychological, emotional and irrational horror within.The new record, ‘Clonic Earth’ is a perturbing, compelling and eventually mind-expanding work, marked by compositional strategies of exploded narratives, psychological insight and oracular literary references, where questions about the boundaries of spatial perception in the decoding processes of acousmatic music are overturned into existential, metaphysical questions.Tricoli’s allegorical and philosophical universe takes the form of an unhinged mind’s landscape swarming with estranged sound objects, and sometimes reminiscent, in the complexity of details and surrealistic effects, of Hieronymus Bosch’s larger paintings. Compared to his previous works, the content of ‘Clonic Earth’ explores more synthesized and heavily processed sounds, especially vocals, often appearing in the form of a religious, electrified chanting.The record is described by its author as a natural consequence of the internal collapse depicted in his previous record, ‘Miseri Lares': “As if all the debris left inside my loudspeakers have been ignited to expand into the ether, to find a justification at the principle of Chaos, or Cosmos alike.”This movement is expressed by references to the theme of fire as original matter in the Chaldean Oracles which, together with the later work of Philip K. Dick, are the main sources for the vocal/text elements of the composition. Fire, intended as the convulsive principle of existence, but also an ontologically terminal element – hence a representation of the infinite decay and a mean of communication with the otherworldly – serves the author a metaphor for the acousmatic listening experience itself: a borderline perception of sounds eternally fixed in their spasmodic disappearance, which could eventually drag us into a different layer of reality, drastically changing, subverting, or expanding the space in which they are diffused. A ritual, somehow, which may link the listener and the perceptive space that he inhabits with whatever lies beyond the loudspeakers, beyond the vibrating surface of the world.The 2xLP is mastered and cut by Rashad Becker at D&M, featuring artwork by Bill Kouligas.

Valerio Tricoli - Clonic Earth LP

Verbatum notes for the concert as written by John Tilbury: John Tilbury - solo piano. ( Pavana. The Earle of Salisbury - William Byrde (1543-1623) . Fantazia of foure parts - Orlando Gibbons (1583-1625) followed by Coptic play-along Improvisation based on/accompanied by Morton Feldman's Coptic Light (1985) A Wordless Encounter  "Last Friday my wife and I were on our way home by train from a wedding in Norwich. It was around 8pm. I had left my seat and had made my way to the exit doors. A young man was standing by the door. He must have been in his thirties. He was shortish, bulky, with a shaven head, and was wearing shorts and flip-flops. He was of fair complexion. My wife remarked later that he looked foreign, Nordic. He might have been a Baltic weight-lifter. I was facing the doors, he was standing between the two sets of doors. All of a sudden, I felt a presence at my right shoulder. It was a head whose teeth were biting through my suit and tee-shirt. I could feel the teeth though my assailant had not managed to penetrate the bare skin. Within around, I suppose, ten seconds I was able to shake him off. We stood facing each other; he bared his teeth, rather like an animal. I raised my hands in a calming movement and mouthed the words: it's ok, calm down, or words to that effect. At that moment a few people, including my wife, had left their seats, preparing to alight. I do not know if they had witnessed any part of what happened. My wife, seeing my arms raised in apology, thought I may have stumbled against him. The biter then bared his teeth to her and she, thinking he was smiling at her, smiled back. He repeated this. Then, facing the door opposite the exit doors he began to gyrate, or dance. My wife urged me to 'go through' and we moved purposefully, though unhurriedly, into the next carriage. We alighted at Folkestone West station and made our way briskly down into the subway and up to the exit leading to the bus replacement service. The biter had disappeared. On the bus I reflected on my response to the 'attack'. Bizarrely, although I had 'acted' to free myself from his teeth, there was no 'response' to the the 'attack', except a feeling of sheer disbelief. As if what happened must have been a 'fiction'. Would there be a 'reaction'? A nightmare? No. Nothing. I have recounted the incident to a few friends. My wife suggested I should describe what happened in writing. N.B This incident is entirely unconnected with this evening's concert." --- Recorded live at Cafe OTO by Shaun Crook on 31st August, 2016. Mixed and mastered by James Dunn. Photo by Dawid Laskowski. With thanks to Seymour Wright. 

John Tilbury - 31.8.16

* This book is a monster. It's huge. Hence price and postage. So you know...  free improvisation: what goes on? how does it work?                                                                      how can you write about it? Musicswas published, from 1975 to 1979, by musicians and artists on the London scene of free improvisation, focusing on the most innovative participants of their generation. Steve Beresford, David Toop,  Annabel Nicholson, Evan Parker, David Cunningham, Lindsay Cooper, Eddie Prevost, John Russell, Derek Bailey, Hugh Davies, Peter Riley and many, many others contributed to the writing, graphics and photography. Musicswas a blueprint for the interdisciplinary activities of sound art, field recording, free improvisation, live electronics, 20th century composition & audio culture. It came out six times a year and ran for twenty-three hand-assembled issues. The journal covered improvised and non-western music alongside performance art, reflecting the broad interests of the so-called “second generation” of London’s improvisers, and provided a convivial focus point.  Overlapping with thelondon musicians’ collective (lmc), the publication first launched in Spring of 1975, with the tagline:an impromental experivisation arts magazineand a manifesto that proposed the destruction of artificial boundaries, and linked Free Jazz, the academic ministrations of John Cage, Cornelius Cardew and K. Stockhausen and indigenous and non-European music.Musicswas significant in the discussion of traditional Asian instruments as paths of equal value for the performance of musics. Produced by what was effectively an anarchist collective with few publishing skills and no support, the magazine’s roughness, marginality and scarcity has kept it from those who are active, even prominent in the field.  Musicsis an entree to the arcane world of the 1970s London improviser’s scene and presents scores, dialogues, debates, positioning, arguments, accolades, critiques, absurdist/dada notions, and a bit of pranksterism - all with collective enthusiasm. Founding Editor David Toop: “with rose-tinted affection I recall mass paste-up sessions with spray mount… a page of reviews of electronic music by women, written by Lily Greenham in 1978… in the same issue are five beautifully written and illustrated pages about listening in Greece. An Aural Sketchbook by Dave Veres was just one example of pieces about listening practice and field recording; others include Found Sounds by Michael Leggett, Sounds in Kyōdo by Kazuko Hohki, New York Sounds by Fred Frith and Sounds Heard at La Sainte-Baume by Hugh Davies. There are also invaluable accounts of groups such as The People Band, Feminist Improvising Group, CCMC, Los Angeles Free Music Society, MEV and the Dutch musicians associated with Instant Composers Pool. Interspersed among all this loamy archival material are a few essays of grinding tedium, snarky barbs of wit, barely decipherable photographs…” Musics Introduction: Steve Beresford / Foreword: David Toop isbn: 978-0-9972850-5-5 / Publisher:ecstatic peace library Pub date: 1 September 2016 Flexi-bound cover, Swiss-bound, 800 pages

MUSICS Book

This duet between bass clarinet and circuit-bent Casio SK1 sampler was recorded at the Pittville Pump Room in Cheltenham in January 2003. As one might expect, the music has some of that cold silence which pervades classical music institutions, and which is so repellent to ears used to the demotic bustle of jazz and pop. However, the musicians use one aspect of classical recital to their advantage, which is its staged singularity of performance. Where so much issued music has become calling cards for celebrity rather than a significant act in itself - the malign influence of free music’s reduction of music to the musician; the free jazz griot, the improviser genius - Cundy and Dunn have put everything they can do into one CD.   The musicians are fully in control of their pitches and the music often proceeds by finding a harmony and then forcing it into crisis, unbearable tensions resolved into rhythmic exchange. Cundy also uses a Tinnitus Analyser to detect noises and elevate them into audibility. This provides the musicians with a stimulating randomness - the difference between the unexpected shapes generated by looking and drawing rather than simply doodling and reproducing habit, the eversame.   Eric Dolphy’s example on bass clarinet allows Cundy to exploit the natural resources of the instrument: its old fashioned wood-panelled formalism, the humour of its duck quacks, the urban urgency of its sinuous high tones. Dunn’s electronics are a masterclass in the resources of outdated technology. After being exposed to so much laptop texturing, the ear appreciates the SK1’s limits. They give Dunn’s contributions a jagged starkness, like coming upon a crude screenprint in an exhibition of digital printouts. It’s possible that both musicians are a little too guarded to force the music into a contradiction that might unify an hours performance. However, the quiet care and intensity in the way they listen to each other is really touching.

Grace And Delete ‎– Grace And Delete CD