Two historical heavyweights of European free music, clarinetist Rüdiger Carl and drummer Sven-Åke Johansson, join forces with younger bassist Joel Grip for a night of incredible trios. Recorded a few months before the pandemic clampdown, in November of 2019, at Berlin's Au Topsi Pohl, the music is exploratory and swinging, with Carl's viscous clarinet and a brilliant rhythm team steeped in time-based feel but loose and sometimes oblique. Johansson was part of the first Peter Brötzmann Trio to commit music to wax, on For Adolphe Sax (BRÖ/FMP, 1967), and he was on the legendary Brötzmann Octet date Machine Gun (BRÖ/FMP, 1968); the drummer's 1972 solo outing Schlingerland kicked off the SAJ sub-label of FMP, so named for Johansson's initials, and he has made a slew of great records for his own label, also called SÅJ.  Playing tenor saxophone, Carl led a fiery group called Rüdiger Carl Inc., which recorded the classic King Alcohol (FMP, 1972); he was part of important groups with pianist Irene Schweizer, also playing clarinet and accordion, and has recorded with many of the leading improvisors in Europe.  Johansson and Carl have recorded together numerous times, including Fünfunddreissigvierzig (FMP, 1986) and Djungelmusik met Sång (Hapna, 2000).  This sparkling live set features three longer pieces, beautifully recorded, with a cover photo by Johansson and liner notes by Peter Margasak. --- Rüdiger Carl, clarinet Joel Grip, double bass Sven-Åke Johansson, drum --- Recorded November 8/9, 2019 at Au Topsi Pohl, Berlin, by Alexis Baskind. Mixed by SÅJand Alexis Baskind. Mastered by Alex Inglizian. All rights retained by the artists/GEMA. Cover photo by SÅJ (West Berlin, 1970). CD design by SÅJ and David Khan-Giordano. Produced by SÅJ and John Corbett. --- Released: Corbett vs Dempsey

In 1981, British percussionist Paul Lytton and German guitarist Erhard Hirt met and recorded for a couple of days in Belgium. This explosive, ahead-of-its-time first encounter, which had been planned as a release on the legendary Po Torch label, has remained dormant for over four decades. In that period, Lytton and Hirt teamed up often, joining forces with saxophonist/clarinetist Wolfgang Fuchs and bassist Hans Schneider as the quartet X-Pact, a group that has recently reformed – several years after the untimely death of Fuchs – with Stefan Keune in the saxophone chair. Lytton and Hirt were key participants in the Aachen (Germany) improvised music scene, also key members of King Übü Örchestrü, one of the most radical improvising large ensembles. Lytton's legacy hearkens back to his time in the London jazz scene of the late 1960s, where he played with a who's who of heavies, and he's perhaps best known for his long standing collaboration with saxophonist Evan Parker, in duet settings and their collective trio with bassist Barry Guy. He is one of the great innovators of European improvised music, both as a percussionist and with his unique electronics rig. Hirt's super-resourceful guitar work – here both on electric guitar (with active whammy bar) and acoustic dobro – deserves to be more widely heard. Along with his own solo music, which started with a killer record called Zwischen den Pausen on Uhlklang in 1983, he's worked intensively with musicians such as Axel Dörner, Phil Minton, Thomas Lehn, Phil Wachsmann, and John Butcher. For its debut voyage, Borne on a Whim was lovingly transferred (for the first time) from the original reels by Ken Christianson, preserving every crispy, crackling noise.The cover features a stencil used to make a poster for them back in the period that Lytton and Hirt first began their work together. Borne on a Whim is the first release drawn from the Paul Lytton Archives at Corbett vs. Dempsey. Paul Lytton, percussion & live electronics Erhard Hirt, electric guitars & dobro Recording PLo/PLy, Plombieres, Belgium, 17/18 April, 1981.

One of the towering creative musicians of our time, a master drummer and multiple percussionist, Hamid Drake has anchored inumerable bands. As a hard working player, constantly touring the globe, he's collaborated with most of the major figures in improvised music and contemporary jazz, from David Murray and Peter Brötzmann to Pharoah Sanders and Don Cherry. Along the way, Drake has never had an opportunity to stop and make a solo record. Indeed, he's only performed solo on a few occasions. John Corbett began petitioning Drake to record an unaccompanied session twenty years ago. At last, after the pandemic had (just slightly) slowed down Drake's incessant travel itinerary, a plan was hatched and he entered Experimental Sound Studio during the cold, hard month of December, 2020. With Corbett, Jim Dempsey, and engineer Alex Inglizian as his audience, Drake worked through a vaguely plotted-out blueprint, however after a few months had passed, the drummer was unsatisfied with the result. He returned to the studio in July, 2021, with no pre-planned notion, and this time the Hamid Drake magic was everywhere – perched on his drum-throne, working exclusively at the kit, sometimes plying metallic percussion atop the snare, Drake recorded nine tracks, a cornucopia of rhythms and textures that touch on his love of reggae and funk but retain the openness and buoyancy that have made him such a go-to figure among his peers. In the CD's liner notes, he says: "A dedication in spirit to all those who have influenced, helped, opened, nurtured, shown love for, and cared for me along the way." These include Brötzmann's band Die Like a Dog, longterm percussion pal Adam Rudolph and mentor Fred Anderson, fellow drummers Paul Lovens and Milford Graves, Don and Moki Cherry, Big Black, and others. The record, precisely and soulfully recorded by Inglizian, has the beauty and warmth that always radiate from Drake's sticks, from his person and spirit – deep humanity in the form of an unstoppable engine room. Cover art by Christopher Wool. 1. Dedicated to Die Like a Dog [8:25]2. Dedicated to Adam Rudolph [13:21]3. Dedicated to Don & Moki Cherry [6:06]4. Dedicated to Milford Graves [8:29]5. Dedicated to Paul Lovens [9:14]6. Dedicated to Big Black [7:43]7. Dedicated to Fred Anderson and to the beauty and diversity of Chicago [5:28]8. Dedicated to Lex Hixon (Shaykh Nur) and Shaykha Fariha [8:45]9. Dedicated to Lenn Keller, Brenda Jones, and Calvin Gantt [3:56]Hamid Drake – drum set and percussion Recorded by Alex Inglizian at Experimental Sound Studio, Chicago, on July 12, 2020. Mixed and mastered by Alex Inglizian with Hamid Drake, Jim Dempsey, and John Corbett at ESS. Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool.CvsDCD088

Originally released in 1979 as a double-LP on Hat Hut, Stamps was Steve Lacy’s first for the legendary Swiss label, and it remains one of the strongest statements of what he termed the “scratchy seventies.” With the classic lineup of Lacy’s soprano saxophone, Steve Potts on soprano and alto sax, Irene Aebi on cello (and singing on one track), Kent Carter on bass, and Oliver Johnson on drums, the recording catches the band live, performing Lacy’s angular, intervallic compositions, using arrangements that leave the rough patina, rather than buffing things to a smooth shine. This is the first time the important music has been reissued on CD, adding a bonus track, all remastered from the original tapes. The double-disc package sports a facsimile reproduction of the gorgeous artwork by Klaus Baumgärtner, with action photographs from the concerts on the interior. A must for Lacy fans and for anyone interested in creative music. Steve Lacy, soprano saxophone and Japanese bird whistle Steve Potts, alto and soprano saxophone Irene Aebi, cello, violin, voice, bells Kent Carter, bass Oliver Johnson, drums Originally released on hat Hut Records (hat Hut K/L, 1979). Track 4 is previously unreleased. CD 1 recorded by Walter Troxler, August 27, 1977, at Jazz Festival Willisau, Switzerland. CD 2 recorded by Philippe Quinsac, February 22, 1978, at Jazz Au Totem, Paris. Production coordination by Craig Johnson, CjR Productions. Mastered by David Crawford at Masterdisk, New York. Cover art by Klaus Baumgärtner.

A special 2-CD reissue of the hyper-rare El Saturn LP, recorded in 1963, early in the Arkestra's NY period, paired with a full disc of extra material. Loaded with John Gilmore, one of the greatest & rarest slabs of Sun Ra vinyl, on disc for the first time! Recorded March 10, 1963, Choreographer's Workshop, New York City. Remastered from the original tapes by Michael D. Anderson. Design by Sonnenzimmer. Reissue produced by John Corbett and Adam Abraham. 2CD, released 2013 cvsdcd009

Okkyung Lee’s is perhaps the most harrowing of the Black Cross Solo Sessions stories.  At the onset of COVID, the cellist was called to travel to Korea to be with her dying father.  The trip was sudden and didn’t allow her to bring her instrument, but once there she was unable to return to New York because of the stringent lockdown.  For months she was stranded without her cello, unable to practice or make any music.  This intense alienation took a long time to lift.  Indeed, even after she made it back to the States, Lee found it impossible to reconnect with the music for a period.  The invitation to make a new solo CD for BCSS inspired her to jump-start her playing and in the process, she has made one of the most profound and beautiful CDs in recent memory, an almost impossible to describe amalgam of string and wood and voice and magic.  Lee does not release many records, so each one is a major event.  A stunning studio production, Na-Reul is that and more, its nine tracks, as Lee puts it, a “raw and direct” response to the traumatic events of 2020 and the turbulent emotions that accompanied it. With liner notes by the artist and artwork and design by Christopher Wool.   Ari [04:00] Drifting [05:08] Mountains [04:11] Mirage [05:00] Burning [03:54] Lorelei [04:08] Wings [03:06] Pisces [03:03] Grey [05:29] Okkyung Lee, cello Cover design and artwork by Christopher Wool. CD design by David Khan-Giordano. Produced by John Corbett and Christopher Wool. CvsDCD082

Recorded at the ICP Jubileum, a festival in Uithoorn, Holland, in 1978, Yi Yole brings together the core of the Instant Composers Pool – pianist Misha Mengelberg and drummer Han Bennink – with legendary South African alto saxophonist Dudu Pukwana. Longtime member of the Blue Notes, Pukwana was a beloved figure in European free music after he left South Africa in the mid-sixties and settled in London. There he worked with all of the leading lights of free improvised music, recording extensively with the Brotherhood of Breath and eventually releasing LPs under his own leadership before his untimely passing in 1990 at the age of 51. What the three tracks on Yi Yole make clear is how surprisingly well the Dutch and South African sensibilities fit together, an overall relaxed vibe leading to unforeseen directions in the music. Han Bennink ranges far beyond his drum kit and its metallic add-ons, playing trombone, clarinet, and viola; his collage design for the record, as with all ICP productions, is brilliant and perfectly matched to the music. This is the only time these three prime movers of free music would record as a trio, hitting just at the moment when the Instant Composers Pool was gaining momentum and South African jazz was growing in international stature. Released on ICP, Mengelberg/Bennink’s self-produced label, Yi Yole saw limited distribution and attention in its time, but it remains an absolute classic of improvised music, presented here in all its glory with Bennink’s design, remastered from original tapes, the box of which is reproduced on the interior spread, replete with never-seen hand notations.

Hailing from the Germantown section of Philadelphia, well known as the site of the Sun Ra Arkestra communal homestead, Sounds of Liberation were at the forefront of seventies black liberation music. After a series of gigs in elementary schools, prisons, and community centers, in 1973 the band travelled along with their manager George Gilmore (father of Linc Gilmore of Breakwater fame) to NYC for a recording session at Columbia University. This five-song session has never been heard until now. Had it ever been issued, it would have followed on the band’s debut, New Horizons, released in an edition of 500 copies on Dogtown Records, now a highly prized item in creative music collector circles. Sounds Of Liberation formed in early 1970, initially lead by vibraphonist Warren Robert Cheeseboro, aka Khan Jamal, but it wasn't until the eventual arrival of Byard Lancaster that the band’s prospects started to take off. Lancaster was a master at making a deal (with or without the band’s approval). This deal-making lead to more gigs and more recognition, especially from local newspapers. Sounds Of Liberation was more of a community than a band at times and because of that spirit there was a strong desire by the entire group to work with schoolchildren as well as inmates. They did just that, and continued to do so throughout the early to mid-seventies. Released briefly last year as a special edition of 100 copies by Brewerytown Beats, who have forged positive working relationships with the living members of the band and the estates of those passed, the music on Sounds of Liberation has never been heard before, which is especially strange given how wonderful and accessible it is. Shoulder-deep in groove juice, it’s a record with heavy ostinati and beautiful backbeats, including the mellowing influence of Jamal’s vibes and the incisive guitar of Monette Sudler, the final track featuring an unidentified vocal group singing a stone-cold soul hit, also featuring some searing saxophone courtesy of Mr. Lancaster. A treasure for fans of so-called spiritual jazz and free funk, Sounds of Liberation is a snapshot of its era and equally an inspiration in ours. The package comes with never seen photos of the band and a cover design by artist LeRoy Butler, who worked with the SOL in the era, at the same time he was designing records for Sun Ra. With music lovingly coaxed from long-unplayed original tapes, Sounds of Liberation is a new line item in the soul improvisation pantheon.

For a performance at Yale University in New Haven, Connecticut, in spring of 1966, percussionist Milford Graves invited pianist Don Pullen to play duets. The two musicians had worked together in a band fronted by saxophonist and clarinetist Giusseppi Logan, with whom they had recorded two LPs in 1965 for ESP Disk. Graves was already a daunting presence in free music. One step at a time, he was busy transforming the role of drumming in jazz, introducing a new way of dealing with unmetered time and accomplishing this task with technique that was almost inconceivable. His experience playing timbales in Latin bands had been formative, suggesting that the snare could be used as accent rather than beat-keeper, but by the mid '60s he'd worked up a holistic approach to sound and energy that was the most radical of his improvising percussion contemporaries. And with a simpatico accomplice like Pullen, who would go on to have an illustrious career with Charles Mingus, co-fronting a band with George Adams, and as a soloist and bandleader. This early setting finds Pullen is at his most hard- hitting, and his piano concept as heard here lays to rest dubious claims of Cecil Taylorism. Inspired by their performance, Graves and Pullen issued an LP, In Concert at Yale University, Vol. 1 on their own Self-Reliance Program imprint. The vinyl is impossibly rare, especially its first copies, which sported hand-painted covers by the musicians. A second volume titled Nommo was subsequently issued, and it too is a highly prized platter. None of this music has ever been available digitally. The tapes were lost, so in putting this production together – in the works for 10 years – virgin copies of the LPs were used. One CD includes the two complete LPs together with original cover designs, a gallery of hand-painted LPs, and a photo of Graves and Pullen selling them at a Nation of Islam convention. An insert modeled after the original one presents an interview with Graves about the production of the records. This is beyond the holy grail of free music. It is as vital and challenging today as it was more than five decades ago. CvsD is honored to have collaborated with Milford Graves on this historic reissue.

Glasses was recorded in October, 1977, during a highly significant period in McPhee's work, as he was pioneering the transatlantic, collaborative spirit that has helped to define the last three decades of his career. Documented in Tavannes, Switzerland, the set contains sensational tenor work, including the title piece, which finds McPhee ringing out a rhythm on a half-full wine glass, from which he extrapolates a melody on the saxophone, as well as a stunning version of John Coltrane's "Naima." The final 15 minutes are spent in duet with the Swiss percussionist Reto Weber, who was so inspired by McPhee he asked to sit in and did so with his quite extensive battery of drums. This record come from a year-long run during which McPhee recorded and released four very different, extremely wonderful solo records, of which only Tenor has ever been reissued on CD. Along with the LP Variations on a Blue Line/'Round Midnight, this reissue was produced in collaboration with the seminal Swiss label Hat Hut Records and their chief, Werner X. Uehlinger, and was originally released in 1979.

Klein Eiland comes as a suprise: the past decade, the ROT-members (Benjamin Francart, Bram Borloo, Christophe Piette, Laurent Cartuyvels) have been playing less shows, and their record output had come to a halt. Not sure why: there has been the occasional gathering and recording session. (this one happened to be the last one feat. Floris Vanhoof as a band member) But: R.O.T. proves that they still manage to capture a specific time and place like no one else does. This session was recorded in a now demolished building in the south of Brussels, and is now replaced by the apartment block (as seen on the back sleeve). The only thing that remains is the name of the building, and the captured sounds.

X-Ray Hex Tet = Seymour Wright / Crystabel Riley / Edward George / Pat Thomas / Paul Abbott / Billy Steiger Reading Group is proud to present the debut album of a new ensemble of some of the most adventurous artists in and around London’s contemporary music scene. X-Ray Hex Tet is the confluence of Seymour Wright (alto saxophone), Crystabel Riley (drums), Edward George (words and recordings), Pat Thomas (piano and electronics), Paul Abbott (real and imaginary drums), and Billy Steiger (celeste and violin). Wright and Abbott, elsewhere as XT, have developed a private language in their uncompromising explorations of the “histories and logics of the saxophone and drum kit.” Wright and Thomas make up half of the extraordinary research ensemble [Ahmed], named after legendary oudist and bassist Ahmed Abdul-Malik. ([Ahmed]’s Giant Beauty is undoubtedly one of the best releases of 2024). Here, the music is transformed through the quasi-narrative presence of Edward George, the seminal scholar of dub and founding member of the great Black Audio Film Collective (1982-1998). Artist and multi-instrumentalist Billy Steiger provides subtle textural sway beneath the chaos on the violin, as well as eerily unaffected punctuation on celeste, shimmering in the corners as if in the postapocalyptic final moments of Shostakovich’s Fourth Symphony. The percussive core of the group is carried by Crystabel Riley, frequent collaborator with Wright and formerly of the power noise trio Maria and the Mirrors. Her drums move through the storm with geological heft, rolling like a small avalanche. From the sound of this album, recorded live at the Taktlos Festival in Zurich in 2023, the music of X-Ray Hex Tet appears well-nigh impossible to represent. After ascending to its vertiginous heights, though, what comes to mind is a small undercanon of music about history: not in any facile programmatic way, but in its very logic, on the level of form. (Think of Matana Roberts’s Coin Coin cycle, Iannis Xenakis’s Persepolis, Morton Feldman’s Coptic Light.) X-Ray Hex Tet intends towards totality, as a striving, as a gravitational pull. Our feet are swept up in Riley’s cascading drums and we reach out for some resolution to ground us but grasp only shards of alto saxophone, a cacophonous web of samples, gossamer string textures, and electronic whirrs. George’s voice emerges out of this thicket and hovers above it, intoning the names of—or reappearing as—those who have most recently represented the violent threshold of history. From this angle we are both under the avalanche and being blown away from it like a composite recording angel of history: there is no place outside the storm from which to reflect upon it.

“Ideas about exploratory behavior, Neuro Music and Transcultural Music have been the basis for many of my works over the last 20 years. Exploratorium is an album of some of those works and a space of exploration. Indeed, all the works on this album are examples of Neuro Music, which is the fundamental connection point across these compositions.” 
— Gene Coleman, from the CD bookletGene Coleman is a composer, musician and video director, who has created over 70 works for various instrumentation and media. Central to his work is the inventive use of sound, image and time, and the desire to create experiences that expand our understanding of the world. Since 2001 he has explored the global transformation of culture and music's relationship with video, science and architecture.Gene has been developing a series of works around concepts of Neuro Music and Transcultural Music, some of which are collected for the first time on Exploratorium, which is also the first album exclusively dedicated to Gene’s compositions.Gene defines Neuro Music as “an area of research and creation based on the study and application of models and concepts from Auditory Neuroscience, as a form of musical composition. … The Neuro compositional methods I have developed are modeled on the auditory pathway of the brain … including the three mechanical stages of hearing (outer, middle and inner ear functions), the auditory nerves and the various stages of auditory information processing, ending in the neocortex and so-called frontal networks.”Neuro Music concepts are explored across various works on the album, including string quartet, and pieces which combine voice, electronics, shamisen and/or ensemble.Gene defines Transcultural Music as “an area of research and composition based on the integration of music from different cultures and traditions”, and has been exploring how musical styles and traditions might meet and combine in new ways for over 20 years. Models of Neuro and Transcultural Musics have been combined in the longest piece on the album, Across Time (Transonic Symphony #1), which explores new possibilities for what a symphony can be in the 21st century and features musicians from many different places and traditions. The musicians featured on the album:-- RITORNO: The Hemmi Quartet.-- Kokhlos I: Nicholas Isherwood, Adam Vidiksis.-- Kokhlos IV: CumTempora Ensemble (coordinated by Virginia Guidi), Adam Vidiksis.-- Vidrone: Sansuzu Tsuruzawa, Toshimaru Nakamura.-- Across Time (Transonic Symphony #1): Transonic Orchestra, Directed by Gene Coleman: Shinjoo Cho, Ko Ishikawa, Sansuzu Tsuruzawa, Thomas Kraines, Naoko Kikuchi, Otomo Yoshihide, Sachiko M., Jonah Rosenberg, Yasutaka Hemmi, Marino Nagira, Yuta Tsubonouchi, Yasunori Onishi, Marcus Weiss, Jean-Michel Goury, Pierre-Stephane Meuge, Serge Bertocchi, Aya Motohashi, Sasamoto Takeshi.The album also foregrounds Gene’s integration of material from the writer Lance Olsen’s novel Dreamlives of Debris.This is Gene’s second album on the False Walls label: Storobo Imp., a set of improvisations with Uchihashi Kazuhisa, was released in 2004. --- Mastering by Stephan MathieuProduced by CJ Mitchell and Gene ColemanDesign by David Caines 6-panel gatefold sleeve, with 24 page booklet and CD sleeveBooklet includes sleeve notes by Gene ColemanAll Compositions, 2023 Gene Coleman / Lontano Music (ASCAP)

Published: Lenka Lente published in September 2024 French edition 10 x 15,5 cm (softcover) 42 pages + mini CDPlease note this edition is in FrenchTwo revenant stories by Léon Bloy, with music by Nurse With Wound. Léon Bloy (1846-1917) was a French novelist and pamphleteer, friend and disciple of Jules Barbey d'Aurevilly, close to Paul Bourget, François Coppée, Joris-Karl Huysmans and Jean Richepin, and famous for his partly autobiographical novel "Le Désespéré". A British music project formed in 1978 by Steven Stapleton, John Fothergill and Heman Pathak, Nurse With Wound (now Stapleton's variable geometry project) is an essential figure of English experimental and industrial music since the early 80's. With more than 150 releases, alone or with other musicians, Stapleton has swept widely different musical styles, from industrial music to mambo, through electronics, improvisation, electroacoustics, with a lot of humor.

Published: Tochnit Aleph published in April 2016 English edition CD + 20 pages booklet (21 x 29,7 cm)Dorothy Iannone tells her Fluxus Story in a Berlin recording from 1979. “There, Maciunas and I looked deeply but impassively into each other's eyes, not knowing then that we would meet again on these pages. Perhaps he was thinking, ‘Who is this woman?'. Perhaps it might even have amused him, somewhere far back in his mind, to know that I am she who is the Fluxus woman artist who is not the Fluxus woman artist.”Dorothy Iannone Limited edition of 270 copies.   For more than six decades, American artist Dorothy Iannone (1933, Boston–2022, Berlin) attempted to represent ecstatic love, the union of gender, feeling, and pleasure. Today her oeuvre, which encompasses painting, drawing, collage, video, sculpture, objects, and artist's books, is widely recognized as one of the most provocative and fruitful bodies of work in recent decades in terms of the liberalization of female sexuality, and political and feminist issues. As Fluxus artist Robert Filliou declared as early as in 1972, "She is a freedom fighter, and a forceful and dedicated artist, skillfully blending imagery and text, beauty and truth. Her aim is no less than human liberation." A narrative element fed with personal mythologies, experiences, feelings, and relationships runs through all of her work, unified by her distinctive colorful, explicit, and comic book style.Active from the 1960s to the early 2020s, her work has been recently exhibited at the Louisiana Museum of Modern Art, Humlebaek (2022); the Centre Pompidou, Paris (2019); the Serpentine Pavilion, London (2018); the Swiss Cultural Center, Paris (2016); MAMCO, Geneva (2017); the Migros Museum für Gegenwartskunt, Zurich, and the Berlinische Galerie, Berlin (2014); the New Museum, New York (2009).

Drums – Han Bennink Piano, Electronics [Toy Electronics] – Steve Beresford   Tracks 1 & 4: recorded 24 February 2000 live at Mahogany Hall, Edam Tracks 2 & 3: recorded 17 February 2000 live at Bimhuis, Amsterdam

Constellazione Seconda is the follower of  the Lombardi 1978 "Costellazione" a piano sound exploration based upon a map of sky constellation, planned as the first step of a large work focused on the exposition and 'performance' of constellations maps, planetaria and maps of the heavens. This new work breaks up into 21 short piano movements, concentrating on incredibly short staccato notes that sting violently between fractured harmonics leaving plenty of momentum-puncturing silences to really heighten the sense of disorientation, as well as two long (over 20 minutes) piano excursions

Second CD release by Adrián Demoč following his highly-regarded debut 'Ziadba'. Four beautiful chamber works, three performed by Apartment House, one by an ensemble from the Janacek School of Music in the Czech Republic. The title track, Hlaholika, was commissioned by Another Timbre as one of the label's 'quarantine commissions' during Covid lockdown in 2020. The front cover shows a stone tablet engraved in Glagolitic script --- Another Timbre, 2021