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

Bass Mamer Percussion Erik Recorded Zhang Dong

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

Alto Saxophone – John Zorn Artwork, Design – Karen Brookman Bass – Paul Rogers (2) Electronics, Keyboards – Pat Thomas Guitar – Buckethead, Derek Bailey Percussion – Paul Lovens Photography By – Martin L McGain Post Production – John Hadden Producer – Derek Bailey Recorded By – Matt Saunders, Paul Wilson (4) Trombone – Yves Robert Violin – Alexander Balanescu Voice – Vanessa Mackness Company Week is a celebration of freely improvised music and in 1991 musicians came together for five days improvising, most of them meeting for the first time.This CD is taken from the final two days (Friday and Saturday).The titles are derived from the initials of the musicians.

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

"Atlantis is an exhilarating listen, equally thanks to its fierce free jazz and brightly textural abstraction" Antonio Poscic, The WIRE, Feb 2020 Following closely on the heels of his ravishing solo album Tomorrow is Too Late, Stockholm-based synthesist and improviser John Chantler switches gears to unleash the stunning second album by his trio with saxophonist Seymour Wright and drummer Steve Noble, Atlantis. Chantler is well-known for his solo electronic work, which frequently explodes richly layered ambient soundscapes into visceral explosions and thrilling physicality, to say nothing of his imaginative experimentation with the organ, heard in radically transformed mode on the recent solo recording. But Chantler is equally invested in real-time improvisation and he’s developed a dazzling rapport and sound world with Wright and Noble, two of England’s most distinctive, active, and turbulent figures in spontaneous music over the last couple of decades. The pair has worked together in numerous contexts over the years, but it took Chantler to create an ongoing context for them, and since forming in 2017 the trio’s rigour and level of communication have steadily expanded.“My fantasy idea in the beginning when I wanted to do this trio was thinking about taking Derek Bailey’s role in the Topography of the Lungs trio,” he says, referring to the classic 1970 album with Evan Parker and Han Bennink. “That’s not what happened, but that was my way of imagining how I could make the synthesizer have the kind of range and ability to both comment on stuff and guide and push in certain ways, like Derek did in that group. That remains a kind of ambition even if aesthetically it doesn’t feel very close to that, but that’s how I first thought about what my role would be.” Indeed, Chantler serves as a pesky interrogator, his serrated tones and viscous globules cutting through the kinetic din dished out by Wright and Noble, and on the new album his integration is more fully realised to the point where it’s often impossible to decipher where the output of one musician ends—the sibilant bowed cymbals of Noble or the feedback-laced lines of Wright—and the pushback of another begins.The album was cut and mixed in a single day with in-house engineer Janne Hansson at Stockholm’s legendary Atlantis Studio, a facility made famous by the chart-topping albums recorded there by Abba in the 1970s, when the place was known as Metronome. Prior to entering the studio the trio spent an exhausting, all-in week rehearsing at the arts space Fylkingen—where they also played a show—in addition to playing a handful of gigs in Norway. Locked in, they discovered much different acoustic qualities at Atlantis from what they’d previously encountered. “There’s a very specific sound at the studio, and we’d been playing for a week together at Fylkingen, so we started to develop a thing that really works in that room, and then you move somewhere else, and the drums in particular sounded really different, and in some ways they had a bit more of a rock ‘n’ roll kind of feeling.” explains Chantler. Responding to that radically different, reverb-soaked ambience, he and Wright took advantage of a pair of matching Fender tube amps, charging their individual signals to match the booming, resonant sprawl of Noble’s pinpoint clatter.Compared to the group’s debut album Front and Above—a live recording of the trio’s very first performance at London’s Café Oto—which Chantler edited to emphasise the sparser expanses of the raucous, performance, the new album reveals a more open-ended spectrum, from delicate to crushing. Noble’s beautifully metallic rustling and throbbing snare bombs hang pregnantly in the air, and Chantler and Wright thicken the atmosphere with twinned abstractions, alternately ethereal and punishing. The transitions between calm and chaos are sometimes seamless, sometimes abrupt, but the full landscape transports the listener to another realm regardless of how ferocious or gentle the attack may be. As strong as the trio’s first album was, Atlantis marks a massive step forward. “The more you play together the more it starts to cohere into some kind of specific language,” says Chantler. “You start to understand the point of what a particular constellation might be.” With Atlantis there’s little doubt these three improvisers know exactly what the point of it all is, which thrillingly means that many new paths in the future have opened up.    ---   John Chantler / synthesiser   Steve Noble / drums   Seymour Wright / alto saxophone   --- RECORDED AND MIXED AT ATLANTIS GRAMMOFON AB, STOCKHOLM 24 JANUARY 2018ENGINEER: JANNE HANSSONMASTERING: STEPHAN MATHIEUPAINTINGS: LESTER WRIGHT   RECORDING SESSION MADE POSSIBLE WITH SUPPORT FROM THE AUSTRALIA COUNCIL FOR THE ARTS

Five Wooden Frames marks the return of Italian artist Giueppe Ielasi to 12k after his captivating polyrhythmic explorations on Aix (12k1051, 2009). He completely abandoned the guitar in the mid 2000’s to explore minimal electro-acoustic abstractions (see his releases on his own Senufo Editions) or rhythmic and groove-based music (see his Stunt series, the Inventing Masks project, and Aix and Tools on 12k). Once again, however, the guitar has become his main focus, both as an instrument in the traditional sense and as source of sound material. The sections on Five Wooden Frames were produced using continuosly shifting and modulating loops of acoustic guitar glissandos resulting in pitches that slide around in a haunting, yet spirited juxtaposition of delicate and strangely playful textures.

AMM formanex play Treatise Composed By Cornelius Cardew! Performer – Anthony Taillard, Christophe Havard, Eddy Prevost*, Emmanuel Leduc, John Tilbury, John White, Julien Ottavi, Keith Rowe, Laurent Dailleau Recorded in June 2002 at the Musique-Action Festival in Nancy, France, for the 20th anniversary of the death of Cornelius Cardew.

Martin Bartlett should be a familiar name. As well as working with a who's who of electronic music, he was an inspiring and original thinker, composer, performer and organiser. His music is distinctive for its warmth and fleshiness, for taking joy from the incidental and anecdotal, and it remains a characterful counterpoint to much contemporary electronic music. It is his preoccupation with building aleatoric elements into electronic music that distinguishes his work, and he devised elegant and open interactions for instrumental performers and computer-controlled synthesizers. This included building his own electronic devices, and extensive work on the Buchla 400. Born in Croydon in 1939, he was adopted as a baby, and later moved with his family to Canada. He did a short stint in the Navy and completed a music degree at the University of British Columbia, studying under Barbara Pentland, before going on to study composition at Mills College in the late 60s. In 1973 Bartlett and seven others founded the Western Front in Vancouver – a cultural cooperative, gallery and performance space that still exists today, housed in the old meeting hall of the Knights of Pythias (a mason-like fraternity). He continued with his research and teaching, and in 1982 was made professor at Simon Fraser University where he remained for the rest of his life. His performances were often collaborative – for the Western Front's second anniversary in 1975 he devised the four-channel piece One Piece for Everyone, a composition where he prepared and cooked a cauliflower curry on a table connected to a synthesizer he had built, while reading from texts on food. When the curry was cooked, the piece ended, and everyone was fed. Bartlett was a prolific writer, and he expresses himself in fresh, lucid, and wonderfully descriptive prose, offering clear thinking on social aspects of electronic music performance; on the barriers between the performer and the 'black box' and on possibilities for organic systems in electronic music. He also wrote accounts of his sailing trips, treatise on performance practices, and technical academic articles on the systems he built, along with the incandescent manifesto-like piece Electronic Recalcitrant, in which he hoped that electronic music would be imbued with “organic codes of growth and metamorphosis” so that he could “pluck elegant and fleshy electronic sound fish from the frothy algorithmic sea of possibilities”. Key influences were Pauline Oliveros, John Cage and David Tudor, all whom he studied under. Like many of his generation, he became interested in non-Western compositional and philosophical practices, and in 1981 he travelled to India to study Carnatic vocal music with V. Lakshminarayana Iyer in Madras and then on to Burma, Thailand and Indonesia where he studied shadow theatre. He studied South Asian music with Pandit Pran Nath, gamelan with K.R.T. Wasitidipuro, and closely collaborated with Don Buchla on live performances and synthesiser design. He was particularly interested in the Javanese gamelan, which led to him founding the Vancouver Community Gamelan in 1986. On his travels to Indonesia he made hours of field recordings, many of which are accompanied by vivid narrations on the rituals and ceremonies he was documenting. It is unclear why Bartlett’s work remains unknown. Perhaps it is because it remained largely inside the academy. Perhaps his commitment to live performance and community activity means it was more transient than the work of others. Perhaps his openness about his sexuality played a part in his music not receiving much recognition – one can only speculate. But correspondence in his archive shows that rejection and general lack of interest from labels was a source of great personal discontent, leading to Bartlett working again with the Western Front to release his final opus Pythagoras’ Ghost shortly before his death. Bartlett died young, of AIDS-related causes, in 1993, but his music remains a rich source of inspiration, and is characterised by an irresistible and unselfconscious charm that renders his sound unique. These selections, along with the companion LP Anecdotal Electronics, and Luke Fowler’s film Electro-Pythagoras, aim to redress this prior neglect, shedding light on this little known personality from electronic music history, who still has so much to say. Arc Light Editions was formed by ex-Wire magazine staffer Jennifer Lucy Allan and James Ginzburg as a reaction to the over-priced and deluxed-out reissue market. Our releases are packaged simply in kraftliner stock and are reasonably priced. We do not release anything we cannot listen to on repeat for weeks at a time, or which we do not believe is totally essential.   less

For those unfamiliar with John Macedo’s work, he presents what I consider a precious quality in a musician. The one that makes you ask yourself endless questions of how someone can piece together such intricate qualities of audio, in such detail, be it in composed works or improvisation. I’m yet to see a concert of his where I don’t leave totally unable to answer questions about how he does the thing he does. Up to this point I've associated all of this with, for lack of a better term, ‘electronic’ sources, synthesisers and varying feedback systems. So it carries a bizarre and exciting feeling to announce his first album of guitar music on Infant Tree, ‘Truss’. Macedo started to piece the album together in 2014, after an eight year stint away from his guitar exploring the potential of various other combinations of devices. The album marks a distinguishable change in attitude towards his music. Away from a more technical approach, it invites something more personal; experimenting with an instrument both recognisable and relatable, yet somehow also novel. For fans of previous work, ‘Truss’ follows without fault. It carries Macedo’s distinctive manner and character throughout. Tracks like ‘Phase’ and ‘Bridge’ bury themselves deep in your ear, pulling up sounds so far from what I previously understood could come from a guitar. ‘Binding’, which features Phil Julian, is perhaps the moment in the album where you hear the instrument as we understand it the most, and that says a lot for how unexpected the whole thing is - Bailey or Rowe comparisons won't cut it. Across its length we encounter appearances on guitar by friends Daniel Bennett, Kostis Kilymis and as previously mentioned, Phil Julian. Tying together a feeling of importance of acknowledging the instrument as a gateway into music making, the relationship that all of these players have to it and how that relationship can change and evolve over time. The album was mastered by Giuseppe Ielasi and is available digitally and in a CD edition, featuring a photo of a young John Macedo and his guitar, with layout design by Andrea Kerney.

In its short life, London's Café Oto has played host to more than its share of memorable gigs by such improvisers as John Tchicai, Marshall Allen and Evan Parker, but surely none more remarkable than the December 2009 meeting of the veteran American saxophonist Joe McPhee and the British trio Decoy: the organist Alexander Hawkins, the double-bassist John Edwards and the drummer Steve Noble. It was a night of unceasing reward from music distinguished by such intensity of spirit and richness of timbre. Hawkins is a young composer and keyboardist with a rapidly growing reputation and a clear interest in working with musicians of diverse backgrounds. His early training as a pipe organist surely encourages him to exploit the full range of textures offered by the Hammond C3 and its accompanying Leslie speaker. John Edwards may well be the busiest musician on the improvising scene, his near-ubiquitous presence an infallible guarantee of vitality and substance; only his noted ability to bring a sagging session to life is not required here. Steve Noble, who is among Edwards' regular partners, provides a fine combination of stealth and swing, of drama and discretion, although the dexterous aplomb with which he negotiated a solo passage for small, untethered cymbals really had to be seen as well as heard. McPhee may be a man of an earlier generation, but he shares their absolute devotion to cliché-free spontaneity. Listening to him working in this unusually stimulating context, and appreciating his eloquence, sensitivity and pronounced gift for timbral variation, it is difficult to understand why he is not spoken of more often in the same breath as some of the more renowned free saxophonists. His ability to sing through the trio's array of pointillist textures, or to launch himself full-tilt into the churning maelstrom, adds a significant element to an already remarkable organism. - Bo'Weavil Recordings

Recorded live at Teatro Giulio Cesare on March 28, 1980, comprising an astounding 27 compositions, including the highly celebrated “Astro Black”, “Mr. Mystery”, “Romance of Two Planets”, “Space Is the Place”, “We Travel the Spaceways”, and “Calling Planet Earth”, over six vinyl sides. High among the greatest live gigs by the Arkestra captured on tape, carefully mastered by Matt Bordin at Outside Inside Studio, “Live in Rome 1980” is a near perfect snapshot of the band’s versatility and range, including many of their most notably and famous songs, as well as striking renditions of the Horace Henderson penned Benny Goodman number “Big John’s Special”, Fletcher Henderson’s “Yeah Man!”, and “Limehouse Blues”, displaying Ra’s willingness to address and rework the entire, diverse history of jazz in a single go. Heard in its totality, perhaps what makes “Live in Rome 1980” most striking is the way in which the concert plays out. Roughly the first half encounters the band locked in some of the most out-there, free jazz fire that can be imagined, weaving a startling sense of interplay and furious energy into a brilliant tapestry of writhing sonority, the likes of which were only really achieved by this band. The second half, with only moments of exception that return to the furious energy of the first, is very different affair, easy toward the vocal standards, led by June Tyson’s vocals and the joyous collective chanting of the band, for which they have become so widely celebrated, threading the sounds of off-kilter big band swing with heavy grooves and imagines of outer space.

What is the object with the most sensational magical and alchemical properties, if not glass? A permeable membrane that filters the real through the unconscious, an access portal with divinatory and therapeutic qualities, the glass has always been seen as the guardian of daring allegories and symbols. Aware of this, the artist Roberto Campadello conceived "The Game of Persona", in the context of an installation for the XII Biennale of Sao Paolo in 1973. Discovering the visual properties of gilded glass, he investigated the effects of the overlay of images, a mysterious moment of transparency in which two single people melt into the reflection of the image, creating a single fantastic person. Thus, his "Casa Dourada", also became the space for “Intro-nautical Journeys”: meditations and cosmic dances. The history of this LP (originally published in a 10’’ box set, in 1975) starts right to support those collective initiation sessions. Each track is inspired by an I Ching element (Mountain, Heaven, Earth, Water, Lake, Wind) which represented a primary source of inspiration for Campadello. The dreamlike and occult sound not only suggest the atmosphere of that experience but still reveal the echoes of the best season of the Brazilian rock and Tropicalismo. The music has been composed and played by Roberto Campadello and the brazilian super-star guitarist Luis Carlini, the leader of the Rita Lee's band Tutti Frutti. Fuzz guitars, dirty percussion, Echoplex delays, are the perfect elements for the final trip into your own consciousness. The edition comes with two unreleased tracks, an amazing booklet and the poster; also available the box set special edition with the reproduction of the game, including the magical mirror. Co-produced with nossos amigos Nada Nada Discos.

Reissue with unreleased tracks  from the only one tour of this super group composed in 1975 by Franco Battiato, Lino Capra Vaccina, Juri Camisasca, Mino Di Martino, Roberto Mazza, Terra Di Benedetto. In the mid 70's the Italian underground scene also seemed to mature an existential priority of yearning toward a new psychological universe, with the firm idea to colonize an uncharted space of a necessary and infinite path of spiritual redemption. In this context, the short experience of Telaio Magnetico was born from the confluence of the Battiato’s experimental efforts in works such as Sulle Corde di Aries, Clic and M.elle the Gladiator and the Albergo Intergalattico Spaziale’s new esotheric electronics. Mosaic of  metamorphic sounds and frequencies of unfamiliar constellations, the music of Telaio is a imaginary trimurti  of “energy-cosmos-mind”. Synths and lowrey organs draw sidereal labyrinths and landscapes scanned to infinity by a harmonic percussions arsenal. Whispering and radical impro-vocals are lost as delusional fugues in centrifugal vortices and at the same time seem to offer a compendium of religious chants which evoke both Tibetan chorus such as Indian pujas or the Gregorian tradition. Re-emerge  sometimes Sufi cadences and relaxations or pastoral-tribal elements on which the chamber carpet of oboe blows like Arabs, Egyptians or Moroccans pifferos. That traced is not only a galactic river but also a Mediterranean circumnavigation: a unique creative moment that in addition to the references with the German Kosmische Musik  and the British space-rock seemed to be perfumed by the influence of Gurdjieffian mystic and had roots even in minimalist drone of Terry Riley and La Monte Young as well as parallels with the contemporary research of authors such as Alvin Curran and the following explorations of Futuro Antico.