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 Dunn’s electronics are a masterclass in the resources of outdated technology.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
Paul Abbott: Drum kits, percussion, computer.Seymour Wright: Alto Saxophone, feedback
Pah’ is a monolithic document of the shared improvisational language of saxophonist Seymour Wright and percussionist Paul Abbott, also known as XT. One piece, just under eighty minutes long, begins in the well-traveled territory of contemporary free-jazz, with Wright and Abbott falling into a supersonic velocity that they don’t give up until a strange English folk music marks the end of their set; the audience clearly taking a second to register the proceedings. Recorded live in 2015 at London’s Café Oto, the duo almost immediately ejects/(r)ejects the typical free jazz tropes as Abbott and Wright spin off into conflicting repetitions and cycles, only to morph and move again just at the point that the listener becomes comfortable. The addition of Wright’s use of feedback and Abbott’s heavily deconstructed electro-dance textures takes Pah’ from elegantly brutal blow out to truly 21st century music, and fits perfectly into the experimental formal and timbral languages of label mates Nate Wooley and Paul Lytton. Track Listing: 1. Pah’ (79:19) Recorded live at Café Oto, 24 November 2015 by James DunnMixed and Mastered by Paul AbbottDesign by Paul Abbott and Seymour Wright
XT - Pah CD
"Mainly using old and new recordings, synthesizers and having sampled variations of his own screaming voice, Matschulat offers a violent and anxious ride in his first album Ulterior. Abrasive and poetic, this dramatic album demonstrates the composer and producer’s ability to draw and immerse listeners in this intense and confrontational work.
Based in London and with a background in theatre, Adam Matschulat works as a freelancer in Film and Music, as a producer, composer, sound designer and as a mixing and mastering Engineer. He also is the founder of the label Resterecords."
Matschulat - Ulterior CD
Beautiful CD set including 10 prints
“Another interesting way that Néillidh used the natural environment in his music was that near his home was a small lake with a rock face just behind it. Néillidh would stand just in front of a large rock near his home and play a phrase on the fiddle, bouncing the sound off the water and the rock face behind it then when the echo came back to him he would listen back to what he had played. He sometimes played along with the echo of his own playing adding in variations and harmonies.”
Sleeve notes to A Feeling in the Blood - Néillidh Boyle, Rab Cherry and Dermot McLaughlin
“Then he sat down by a pond and began to play a tune. As he played, the most extraordinary thing happened. One by one the fish in the pond began to jump out and fly about in the air. And what is more, they were all different colours and they were singing to the music.”
Patrick, Quentin Blake.
Billy Steiger’s first album of solo violin recordings.
The Ten Recordings:Some were recorded outside, some were recorded inside.Wood carried inside, wood carried outside.The first and tenth tracks are Festival Music.
The Ten Drawings and Photographs:They are reprints of monoprints. (Two have photographs).
Billy Steiger - Recordings, drawings and photographs from in and around Frîdd Newydd, December 2014 - December 2015 CD
Mattin and Miguel Prado met in A Coruña in 2007 and since then have shared their long running interest in voice within the context of improvisation and noise. Since 2011 they have developed the project of Evacuation of the Voice (EOTV) which includes Mattin's LP "Object of Thought" and Miguel Prado's text "Geotraumatic Evacuation of the Voice“.
The urge for the "evacuation of the voice” appears from its inseparability from the dismantling of the face, identified as the vehicle for the representation of the "I” in capitalism. The artists propose ten sessions of one hour each (of which five now take place) where they will try to performatively evacuate the voice from their bodies, resorting to a process "subjective depersonalization”. The distancing form the thinking with the refusal of generic aesthetic idioms emerges as strategy to try to "understand our psychological, physiological and neurobiological conditions from an outsider’s perspective”.
Miguel Prado & Mattin - Evacuation of the Voice 10CD
First time on CD. Pre-orders taken now. Stock due June.
Recording of the stunning first set performed by the trio of Peter Brötzmann, Steve Noble and John Edwards at Cafe OTO in January 2010 during Brotzmann's first residency at the venue. This was also the first time the trio had played together.
Recorded at Cafe OTO by Shane Browne, mixed by John Edwards and Mastered by Andres [LUPO] Lupich at Dubplates & Mastering, Berlin.
"On an east London side street, Café Oto hosts a programme of international experimental sounds to shame subsidised arts temples, drawing demographic-defying crowds of all ages through its doors. The first release on Oto's own label, available as an authentic vinyl slab or a slippery download, is a 40-minute splurge of sax, drums and bass skronk, live at the venue in 2010, from the German free-jazz giant Brötzmann and two stars of the London improv scene. Unrepeatable moments of collective inspiration and sudden sunlit shafts of modal near melody punctuate the continuing energy blur. Business as usual down Dalston Junction." Stewart Lee, The Sunday Times "Since it opened in Dalston in April 2008, Café OTO has become London's new music venue of choice for the likes of the Sun Ra Arkestra, Joe McPhee, Mats Gustafsson – and Peter Brötzmann, whose first residency at the club in January 2010 yielded this inaugural release on OtoRoku, Café OTO’s new in-house label. The night in question was the first time Brötzmann had played with bassist John Edwards and drummer Steve Noble, and the decision to team them up was inspired. With Alan Wilkinson, or in Decoy with Alex Hawkins and NEW with Alex Ward, Edwards and Noble have a deserved reputation as a thrilling high-energy rhythm section. And as Brötzmann is no slouch when it comes to high-energy playing, the combination is explosive. Right from the start of the set – the first that evening – it's obvious why this was selected to christen the label. All three players jump straight into top gear, with Brötzmann setting a cracking pace, his torrent of sound characterised by that hard-edged tone which makes him such compelling listening. ...the worse the better sets a high standard for subsequent releases to match. But, as every night at Café OTO is recorded and there's a wealth of fine music waiting in the wings, including quality recordings from Otomo Yoshihide and Wadada Leo Smith, OtoRoku looks like a label to watch." John Eyles, Paris Transatlantic
"These two extended improvisations, recorded in January 2010 during Brötzmann’s first residency at OTO, finds the group attaining near-telepathic modes of interconnectedness, despite this being the trio’s first outing together. From the off, Brötzmann’s gills are gurning, throwing up torrents of molten roar, while Noble’s mule-kicking at the traps reels out ride hits like a baby sporting a bonnet of bees." - Spencer Grady, BBC Music
"Does the world need another Brötzmann album? Probably not, but as the inaugural release on Cafe OTO's in-house high quality vinyl-only label, this one is cause for celebration. Recorded there - superbly well, too - during Brötzmann's residency in January 2012, this is no frills straight-up free jazz, solos and all, pitting the Firebreather of Wuppertal against the might local rhythm team (yes, they can and do swing hard) of John Edwards and Steve Noble. All three are on outstanding form, from the opening yelp - when it comes to Big Bang beginning, nobody does it better than Brötzmann - to Edwards's snarling drone 38 minutes later. Shame engineer Shane Browne slammed thos faders down so brutally: for once, you feel like joining in with the whoops and hollers of the punters." - Dan Warburton, The WIRE
BROETZMANN / EDWARDS / NOBLE - THE WORSE THE BETTER CD
CD01 – Arcoparlante
CD02 – Gesualdo Translation
CD03 – A Collection of Smiles
CD03 – The Whistling Republic / Campanas
ALESSANDRO BOSETTI – STILLE POST. RADIO WORKS: 2003-2011 4CD
Rabbit Eclipse is the second full-length recording from the legendary Księżyc following on from their self titled debut from 1996.
The Moon never went away.
The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material.
Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band.
With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia.
Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits.
Agata Harz - vocals, objects
Katarzyna Smoluk-Moczydłowska - vocals, keyboards, objects
Lechosław Polak - accordion, keyboards, synthesizers
Remigiusz Mazur Hanaj - tapes, hurdy-gurdy, violin
Robert Niziński - clarinet, keyboards, objects
Paweł Romańczuk - Fidel, Stössel-Laute, objects
4. Walczyk III
Rabbit Eclipseis packaged in a 4-page DVD format digipack in an edition of 500 copies
Księżyc - Rabbit Eclipse CD
Description: 88 page book with 5 CDs, 115 tracks, most available on CD for the first time, A co-production between Dust-to-Digital and RevenantPublication Date: October 11, 2011
Edited by Glenn Jones
As with all histories, context and an appreciation for the times are essential. In 1958, when the earliest of these recordings were made there were probably no more than a handful of reissues of pre-war country blues 78s available on record in the United States. The long-playing 33 1/3 record was, itself, only a recent invention. Today, with hundreds, perhaps thousands, of pre-war blues and hillbilly reissues available and in print, when it’s possible to walk into any halfway decent record store (to the extent record stores, halfway decent or otherwise, still exist) and find the complete recordings of Charley Patton or Blind Willie Johnson, it may be difficult to comprehend just how obscure and how otherworldly this music once was. — Glenn Jones, from the Introduction toYour Past Comes Back to Haunt You
JOHN FAHEY: YOUR PAST COMES BACK TO HAUNT YOU (1958-1965) BOX SET
Paul Abbott – Vagus
Publication & CD-R
Published by Porta (#11)
- - -
Paul Abbott - Drums, voice, texts and programming.
Part 1: 'Welcome'
Part 2: 'Hsiovidhe'
Part 3: 'Mung Pool'
Free download available at: http://www.portaaaa.com/porta11.php
Written and recorded in London, 2014-2015.
Double sided Black CD-R mounted on a 20 page, black & white publication.
Both inside a grey-transparent plastic envelope.
Edition of 100.
Paul Abbott - Vagus CD
Founded in 2010 in Oxford the Set Ensemble is dedicated to the performance of experimental music and contemporary composition. All of the members of the ensemble are also composers and they often write for one another, using the ensemble as a testing ground for new ideas, developing and rehearsing pieces together. This process is a collaborative endeavour with the score acting a material among many, directing or shaping actions within a complex field of activity.
This disc contains six such compositions by Dominic Lash, Patrick Farmer, Sarah Hughes, Paul Whitty and Bruno Guastalla, the scores for which are all text or instruction based. Running the gamut from tonal instrumentation to fluxus antics, sometimes even within one work, this collection refuses to sit tidily within one strand of contemporary music, reflecting the broad influences and practices of the ensemble's members.
The CD is packaged in a 7" sleeve with letter-pressed back panel and digitally printed 4 panel leaflet, see scans attached.
Set Ensemble – Stopcock CD
When did you last hear a laugh out loud avant garde album? I’m hard pushed to think of any. Roland Topor’s Panic is a goodie, or some of the antics of the “Selten gehörte Musik” gang, but this is funnier, and my own personal favorite release on the label. Bohman’s approach to music has always shown a preference for the raw and unprocessed, although his 3 releases on Paradigm with Morphogenesis often use signal processing. On this CD, his first solo recording for Paradigm all the played music (except for one piece that uses slowed down and backwards sounds), are derived from the unprocessed sounds from the surfaces of a wide variety of objects that use a broken violin at its core. This CD attempts to cover the full variety of his different working practices which have been slowly evolving since the mid 80s. In particular there is a total of over 30 minutes taken from one of his many ‘talking tapes’, these tapes are made in very small editions and sent out as audio letters to other mail art correspondents (there is also an excerpt included on the first London compilation on Paradigm Discs). These tapes consist of on the spot lo-fi cassette recordings of his observations, both humorous, mundane and personal. Special attention is given to colours, signage and vernacular architectural detail, and favoured locations include: overseas visits, public toilets, restaurants and public transport, but it is the unpretentious wit and dedication that make these tapes so enduring. The sounds of the environment, the faulty recording mechanism and the frequent use of the pause button give these pieces an almost concrète, sound text feel. This ‘talking tape’ dates from Christmas, 1994. There are also 3 ‘pause pieces’ dating from 1990, which are multi-tracked, rapid collages of prerecorded sound material, also recorded on cassette recorders. This uses a similar technique (although independently developed), as that used by Anton Bruhin on his InOut CD on Alga Marghen. Finally there are 4 multi-tracked studio recordings, and one live concert recording. Crucial to all these pieces is the element of improvisation. Bohman has collaborated with a diverse cross section of improvisers, from Lol Coxhill to Joseph Hammer, and is one half of the ongoing theatre/improv duo The Bohman Brothers.
Adam Bohman - Music and Words CD
Music and words 2 is the much delayed 2nd installment in an ongoing series of archival documents of Bohman's early work. As with the first volume, this CD is divided into 2 separate areas of his work. Adam is probably best known as an improviser, playing prepared instruments and objects, but the music here uses little of these purely improvised techniques. On this CD the musical sections consists of idiosyncratic lo-fi songs alongside short collage pieces and other experiments, recorded on stereo and 4 track cassette recorders. Most of these pieces date from the early 80s, but the earliest recording is from 1977.
The spoken word sections on this CD are centred on excerpts from 3 talking tapes - a trip to Southend, a concert series in Wiesbaden and a day in the life, in London. Anyone who has known Adam for any length of time will know that he frequently records his observations to a small portable cassette recorder. These are often recorded for friends and music contacts from all over the world. As with the musical contributions, all these cassettes exist in very small quantities, often they are editions of only one copy.Although there is an obvious difference in these two types of recorded material, there exists a light and humourous common thread that runs through many of the 28 tracks. This is the third solo release from Bohman on Paradigm Discs. He also appears on all 3 of the Morphogenesis CDs, as well as contributing to the first ever Paradigm release, Variations, a compilation of London based artists, from 1995.
Adam Bohman – Music and Words 2 CD
The Trost label presents a live recording from the trio Sonore, featuring Peter Brötzmann (tenor and alto sax, clarinet and taragato), Ken Vandermark (tenor sax and clarinet) and Mats Gustafsson (baritone sax). All compositions by Brötzmann, Vandermark and Gustafsson. Recorded at Café OTO, London, for Jazz On 3, BBC Radio 3, April 20th 2011.
SONORE - OTO CD
After the great 2012 record by Brötzmann/Noble/Edwards, The Worse the Better, Peter Brötzmann and Steve Noblestarted to play some gigs as a duo. It worked out really well -- wonderful pieces of music that had to be put on CD; an expert, you might even say telepathic, interplay between those two outstanding musicians -- sometimes delicate and swinging, sometimes full-force free jazz. Recorded live at Ateliers Claus, Brussels on January 19, 2013. Peter Brötzmann (reeds); Steve Noble (drums). Mixed and mastered by Michael W. Huon, Brussels 2013.
PETER BROTZMANN/STEVE NOBLE - I Am Here Where Are You CD
One of two different sets, along with Two City Blues 1 (TROST 126LP), recorded on one intense night at Tokyo's Shinjuku Pit Inn. A trio of three towering figures, German free jazz legend Peter Brötzmann, Japanese avant-garde wizard Keiji Haino, and wildly versatile American composer and musician Jim O'Rourke, recorded by Yasuo Fujimura on November 23, 2010. Brötzmann: alto and tenor saxophones, tarogato, and clarinet; Haino: guitar, voice, shamisen; O'Rourke: guitar.
PETER BROTZMANN/KEIJI HAINO/JIM O'ROURKE - Two City Blues 2 CD
1. lll人 = Daichi Yoshikawa + Paul Abbott + Seymour Wright2. Still finding, twisting and hammering out an expanding musical universe balanced only by its own logics – lll人 have few obvious comparisons. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out. 3. Fold out/roll up drumfeedbackreed sausage/pleat, holed and sliced. 4. [cropse after gannen begat gjerhan (ovo) ROKU11] 5. The tools are familiar, the listening is not; 6. The tools are familiar, the spaces are not. 7. Here are recordings of public longform negotiations of: a. the vast of V&A cast rooms (walkthru); b. the theatron of Spanish Fighters (sitdown). 8. June 28, 2013 VandA cast-coated Huge room full cast of plaster. BORC Ljubljan Friday Spanski - spanski 2013 the 11th year 15 months dark room Escapade Winton, we're playing in front of the emergency; 9. More lll人: absorbing protoplasm dances of doppelnut learnings.
lll人 Vjerhanxsk (!)
Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace.
Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine "Top 50 Releases of 2013, Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England Conservatory in 2007.
Ashley Paul - Heat Source CD