A mysterious sound aurora on the magical paths of the infinite universe of percussion, originally released in 1985 and then almost completley lost. The well-educated drummer Tiziano Tononi, together with David Searcy and Jonathan Scully, while working at the temple of classical music, Il Teatro alla Scala of Milano decides to realize a personal compendium of sounds using only purcussion instruments. The recording offers to us an amazing concert of sounds with acoustic purity, in perfect balance between wild rhythm and deep relaxation. Ecstatic elements of Japan ambient minimalism dialogue with contemporary musical solutions (Varese, Ligeti), in the stream of a harmonious fusion of ancient and modern. It’s a propitiatory ceremony of supernatural happenings that open portals of blissfulness, tribal and shamanic darkness, and,timeless jungles. Between amazon fires and African safaris, we float in the Asian rivers of meditation, lost in water games, echoes of caves and rocks in the night, synergies of frogs, birds, snakes, marimbas, chimes, gongs, and wooden drums.

An amazing adventure of a musicological and botanical research on the psychoacoustic qualities of the Green World recorded in 1986-89. It’s the investigation of an organic symbiosis, real and mysterious at the same time, between the pharmacological properties of the plant and the sound emitted by the same material essence. From the single natural element comes the vibration permeating the whole Universe; an indissoluble binomial for which "everything that makes up existence contains the information of itself in all its parts". Here, the visionary Walter Maioli (Aktuala, Futuro Antico, Synaulia) collaborates with the music therapist and eclectic composer Agostino Nirodh Fortini, for more than thirty years specialist in the field of sound and video applied to body therapies and meditation. By exposing the archetype breath of the stem, slowing its speed and manipulating and filtering it electronically, the two explorers get a bath of harmonic games with purifying and regenerating powers; a deep and nebulous drone inhabited by insects, alien sounds similar to the vibrates of Fender Rhodes or tonal interludes with plays of stones in the water, on the surface of an inner lake, learning to observe and dive into love and awareness.

Originally released on tape by Sound Reporters in 1986. Het Jacoba Prieel is a very weird compendium of imaginary soundscapes, in which every coordinate seems lost and totally deviated. Fred Gales, in collaboration with Walter Maioli and Pit Piccinelli, presents his idea of ​​a concrete organic music, a diary of signals and sound impressions inspired by the great tradition of primitive music, an extreme investigation of love on the primordial beauty of sound expression. Travelling into the properties of all matter of the sonic environment, the members of the legendary Sound Reporters generate, transform, mix, filter and modulate natural and electronic sounds in the magical analogical studio of the Utrecht Institute of Sonology. From a single movement of sound fragments are opened catalyst flows and circuits, flickering sequencers and oscillations of luminous channels. Futuristic tribalism, hypnotic fossil percussion, alien sounds, dreamlike trips in the jungle, echoes of rustling and rumbles otherworldly, rain waterfalls and shells in the pond, calls of animals and insects, heart beats and radar waves. Everything is just pure sound and surrounds us

Double LP version. Four long and vaporous unreleased tracks that document the Juri Camisasca's first mystical afflatus, bringing to light the moments of "collective meditation" of some events in 1978, including the recordings drawn from the exhibition "L'evoluzione interiore dell'Uomo", which took place at the Villa Reale in Monza. After his participation in the Telaio Magnetico project in 1975, and in parallel to his contribution in works like Franco Battiato's Juke Box (1978) and Lino Capra Vaccina's Antico Adagio (1978), and in Raul Lovisoni and Francesco Messina's Prati Bagnati Del Monte Analogo (1979), a more general syntony of Camisasca for different aspects of Eastern philosophies seemed to conceive his first personal form of music as a "celestial ocean" in which to break the eternal divine love. The mantra nature of deep drones of a natural reverberated harmonium literally introduce you to another level of consciousness; harmonic chants of dhrupad inspiration expanding the ethereal voice in the transcendental plot of all, while Roberto Mazza's oboe intervenes to paint this perfect osmotic sound echoing motifs of ancient medieval saltarello. For Camisasca, "the vibration of sound is something primordial which contains the mystery of creation"; and in this sense "the musician is a medium through which the Nature is expressed". This makes Evoluzione Interiore an intense minimalist work where singing generates a universal and archetypical spiral of purity and candor that suggests the Pandit Pran Nath's lesson as well as dialogues in concept with the mutability flux of seminal works as Terry Riley's Persian Surgery Dervishes (1972), Peter Michael Hamel's The Voice of Silence (1973) and Nada (1977), or with research on the overtones as that of Roberto Laneri's Prima Materia. Includes liner notes with archival photos.

1. Alvin Lucier: August Moon (2015)2. Morton Feldman: Two Instruments (1958)3. Alvin Lucier: Trio For Clarinet, Cello & Tuba (2008)4. Morton Feldman: Three Clarinets, Cello And Piano (1971)5. Alvin Lucier: Step, Slide and Sustain (2014)6. Morton Feldman: Durations 2 (1960) Anthony Burr and Charles Curtis present this collection of curated compositions from Alvin Lucier and Morton Feldman. Two Lucier pieces, August Moon and Trio For Clarinet, Cello & Tuba are presented here for the first time. Liner notes are excerpted from a lecture on Morton Feldman given by Alvin Lucier.   “For Feldman, dynamics serve an acoustical function. When he mitigates a piano attack he reduces that spike of noise that’s at the onset of every piano sound leaving only the sinusoidal pure after-sound. It’s as if he invented electronic music with the piano.” Alvin Lucier from liner notes.      “Lucier manages to hear a layer of acoustical physics in Feldman’s music that perhaps no one else would hear. He’s hearing something in Feldman that is actually coming from his own musical world; in a way, hearing his own music in Feldman’s, and drawing inspiration from that.”

Preorder! Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001)—recorded between Folkestone and Miami—Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter. If it ain’t broke don’t fix it.

Since its formation in 1984, there have been several distinct phases of Kapotte Muziek in which the group changed. The group commenced as a duo of Frans de Waard and Christian Nijs, and operated as such until 1987 when Nijs left and started to learn to play the guitar. Then followed a phase in which De Waard actively searched for other musicians to contribute sounds to be used as source material. In 1993 a new phase commenced when the group were invited to play a series of concerts in the USA. Initially, this was a tour with the Dutch group THU20, and Kapotte Muziek planned a show with pre-recorded tapes and slides. One by one, the members of THU20 backed out of the tour, leaving only Peter Duimelinks in the end, at which point it was decided to play as a duo under the name Kapotte Muziek. Having spent the first week of the tour in New York purchasing equipment and rehearsing, a general plan of '15 minutes of drone, 15 minutes collage-like music and 15 minutes of noise' was formulated. As the tour (17 concerts) progressed, however, new elements were incorporated into the music, with the lineup for the first number of performances expanded to include Daniel Burke's long-running post-industrial group, Illusion of Safety. In 1995, the duo became a trio, adding Roel Meelkop (also from THU20). Since then, the trio (sometimes duo, once solo) has played 121 concerts in Europe, the USA, Canada, Russia and Japan. The group took something of an informal hiatus in 2017 after a duo concert by Peter and Frans in Norway, but regrouped on December 30th 2023 to perform as a trio again (for the first time since 2012) in Germany.Until 2004, Kapotte Muziek also released studio recordings by Frans de Waard, although these recordings had very little connection with the live sound. It was decided to stop these studio-based activities, and Kapotte Muziek would exclusively play live. Recordings of concerts would be released, with very minimal editing in most cases, on CD, cassette or vinyl.The 2017 concert in Trondheim, Norway mentioned above is particularly significant in the Kapotte Muziek trajectory, not only as it marked the beginning of a period of live inactivity. The concert took place at Klubb Kanin on its 20th anniversary, the group also having performed at the opening of the venue in 1997. To mark the event, the group were asked to do a cassette to document these two concerts. To fit both performances onto a single cassette, the 1997 recording was heavily cut up, leading to the current phase of Kapotte Muziek. One thing that has been a constant factor for Kapotte Muziek is the recycling of sound - in concert, by using junk from the streets, and in the studio, through the continuous re-use of sounds. In the first phase, Christian Nijs recorded sounds and instruments, and Frans de Waard created collages using these recordings. The intensive editing of the 1997 Trondheim recording led Frans to a natural conclusion, that live recordings from the group's history could be used as source material for future releases. After three trial pieces for compilations, an entire album came to life. The result is 'Discon', a made-up word for 'distilled from concerts'. Each of the 13 pieces is created by cutting, pasting, superimposing, and editing one concert. No other electronic treatments were used, no granular synthesis, etc. The cover is a collage from the booklet that came with Kapotte Muziek's release, 'Columbus, Ohio', from 2004, which was created from a black and white painting Frans exchanged with an unknown painter for some merchandise at that concert.  Released: Krim Kram, 2024

Zalhietzli is the experimental noise project of French artist, Jean-Baptiste Lévêque. This release is the first CD by the project and follows a recent string of excellent tapes on Satatuhatta, Narcolepsia, and Bent Window Records. Employing tapes, effects, microphones, junk metal and computer, Étreinte presents a set of meticulously executed harsh noise compositions incorporating a diverse range of styles, from skillfully manipulated junk metal recordings to blown-out ripping and fluttering textures (always on the verge of implosion/explosion).The CD comes in a 4-panel digisleeve with a full colour fold-out poster (35cm x 35cm). All artwork by Zalhietzli. Released: Krim Kram, 2024

Michael Speers and Luciano Maggiore make music contemplating the kernel of black metal.Michael Speers is a musician from Portaferry (NI), currently based in Neuilly-Plaisance (FR), who works with natural & synthetic sound material - using drums, computer, microphones, feedback - towards performance, installation and composition. Collaborations include: John Wall, Louise Le Du, Luciano Maggiore and Paul Abbott (as yPLO). His work has been published by Anòmia, Takuroku, Wasted Capital Since 2013 and C.A.N.V.A.S.Luciano Maggiore is a Palermo-born, London-based musician whose work is characterised by the use of speakers and several analogue/digital devices (samplers, CD players, walkmans, tape recorders) and addresses the performativity of the musical act, the perception of it, and the obscurity that emanates from it. His main interests include mechanisms of sound diffusion, performance, repetition, endurance, non-human animal languages, dance, and folklore. With Louie Rice, he started NO-PA/PA-ON, a project that deals with performing score-based works, both acoustic and amplified. His works have been published by Balloon & Needle, Consumer Waste, Hideous Replica, Senufo editions, and Xing, among others. The wonderful adhuman label, based out of Brighton UK, very recently released an utterly essential CD of Luciano's long-standing duo with Louie Rice (album of the year, or any other year, round these parts by a long shot).

Ted Byrnes is a drummer/percussionist living in Los Angeles. An alumnus of the Berklee College of Music in Boston, MA, he comes from a jazz background and has since made his home in the worlds of free improvisation, new music, electro-acoustic music, and noise.Ted primarily works in ad hoc improvisational settings, but has long standing improvisational groups including duos with Jeff Parker, Chris Cooper, Charlie Mumma, Sam McKinlay, William Hutson, and a trio with Jacob Wick and Michael Foster, among others. Additionally, Ted has played in duo, trio, or ensemble settings with Mazen Kerbaj, Matt Weston, Ingebrigt Haker Flaten, Charlemagne Palestine, Alfred 23 Harth, Arrington de Dionyso, Jaap Blonk, Torsten Muller, Kim Myhr, Jim Denley, Lloyd Honeybrook, Chris Schlarb, Mike Watt, Paul Masvidal, the LAFMS (including Smegma, Airway, Ace Farren Ford's Artificial Art Ensemble, Rick and Joe Potts, Fredrik Nilsen, Tom Recchion, Vetza, etc.), Sissy Spacek, Maher Shalal Hash Baz, and more. Released: Krim Kram, 2023

Rick Potts is a founding LAFMS member, active in experimental music since the early 70's, and enormously influential on five decades worth of musical practitioners with a penchant for outer/freakdom sounds. Don't Think is a 2CD compilation of rare and unreleased recordings, spanning 37 tracks and 2.5 hours, and covering the entire range of Potts' musical output - from song-based new wave/art rock to more abstract loop-based noise (note the lowercase 'n') and mutant disco (disco of the Dennis Duck variety that is). Also included is a 12 page booklet of art and notes."When I was a teenager I discovered research that the brain had two separate parts, a logical left side and a creative right side. I decided that the left, the logical, rational, critical side was filtering out too much of the right side's intuitive brilliance and cancelling out thoughts before I was aware of them. I wanted to tap into those discarded ideas so I developed ways to avoid the editing that the left side was doing to the right side's mysterious stream of consciousness. Spontaneity and improvisation in the early days of the LAFMS was one way. Making drawings without planning them sometimes brought surprising results. Creatures emerged before my eyes one shape at a time. I practiced speaking backwards, wrote the first thing that popped into my mind and spoke before I knew what I was saying. Experimenting with freeing myself from the critical inner voice let magical things happen. Creating this way puts me into a zone that feels like a high and it's addictive. It feels best when I don't know what I'm doing but I do it anyway. For me, reason is unreasonable."- Rick Potts  Released: Krim Kram, 2023

Cyess Afxzs is a relatively new harsh noise project from Belfast-born, Swiss-based artist, Stuart McCune. Over the past year, McCune has released a string of highly acclaimed tapes and CDs on many of the most vital noise labels currently active, including Rural Isolation Project, Satatuhatta, Abhorrent A.D., and White Centipede Noise. Much has been made of McCune's use of sounds and structural elements not commonly associated with contemporary harsh noise, and the project's conceptual alignment with abstract art (most obviously through releases directly referencing Max Ernst, Antoni Tàpies, Alfred Kubin, and Daniel Richter). While it is true that contemporary harsh noise has mostly shied away from overt art world influence (with some obvious exceptions), it is worth remembering that noise has a long and existential relationship with abstract art, Merzbow being perhaps the most obvious and literal example. And, although occupying a very different sonic terrain, the likes of P16.D4, Achim Wollscheid, and Rudolf Eb.er, to name just a few examples, all have long histories of incorporating conceptual or abstract art practices in their work. All that is to say that there is nothing that warms my cockles quite as much as when this lowly genre called "noise" that we love so dearly (with all its inherent contradictions) reaches out of the gutter and pulls influence from otherwise "respectable" art forms. Whether that elevates noise or debases art is open to interpretation.No Bull One Left Behind was recorded between August and October 2022 and expands upon techniques explored in previous releases, offering perhaps the widest palette of sounds and compositional approaches to date. The album opens with what my grandmother, as a lifelong harsh noise aficionado, would have described as an absolute banger, a roaring behemoth of joyous blasting, before subtly shifting gear to more experimental ground. There is a very singular musical quality to each of the tracks, each containing its own distinctive character. And while the album as a whole certainly falls within the harsh noise realm, the lines between noise and musicality are continuously blurred.  Released: Krim Kram 2023

Recording of the premiere performance of the "Weihnachtsoratorium" (Christmas Oratorio), an organ concert composed and played by the four hands of Daniel Löwenbrück & Fabian Löwenbrück. Performed December 26th, 2006 on the Hugo Meyer organ of the Evangelische Kirche in Lebach, Germany.Daniel Löwenbrück (b.1974) is a German performance- and sound-artist, creator of tape-music, curator and (sometimes) visual-artist.As a performance artist and composer of tape-music he performed internationally since the late 90's as part of the Schimpfluch-Gruppe (with Rudolf Eb.er, Dave Phillips, Joke Lanz), as a duo with singer and performance artist Doreen Kutzke, as part of Ohne (with Tom Smith, Dave Phillips, Reto Mäder), with Swedish conceptual artist Leif Elggren, with Brazilian video- and sound-artist Marcellvs L. as Stallgewitter, and solo as Raionbashi and under his own name. He performed in New York, Sao Paulo, Bordeaux, Paris, Moscow, Minsk, London, Oslo, Stockholm, Helsinki, Chiang Mai, Tokyo, Osaka, Rotterdam, Vienna etc. Released: Krim Kram 2022

Andy heck boyd, b 1981, lived in new hampshire for 40 years, permanently moved to kentucky in 2021, attended college in boston for tv/film production and filmmaking in maine dropped out of both classes in spring and then winter 2001, diagnosed with schizophrenia in 2002, worked at a gas station for several years before going on disability in 2010, took up drawing and painting and video making and began making cassette tape recordings in 2017, living hermit type life in small room in exeter nh for 11 years before moving to kentucky, took up tape recording to "be a writer" to write novels, chronic tendinitis from overuse of computer mouse making animation and daily painting and drawing with no stretching exercising etc, wanted to write but typing caused too much pain, and began to experiment with tape recording after getting into it around early 2017, never performed live, has had some painting exhibitions with galleries, a few in seattle wa at season gallery, a few with buoy gallery in kittery maine, a few in nyc one with serving the people ran by lucien smith, has a few comics published, casper the french inquisition named blob, and my name is greg, dracula citgo a screenplay, and slot of banji 2 by wilt press in maine, currently lives in mt sterling kentucky with his wife, kasper heckOn 'blondie - thanks for sharing':i go out every day with a tape recorder and a new tape all the time, i record daily things, but i also give it a little break every now and again and switch tools to my super 8 camera or drawing or collages etc, and come back to tape recording with fresh perspective and new ideas etc, for this album its a mix of different things, the first two tracks were part of a five song recording i made in june 2022 using an amp and sk-1 keyboard, and microphone, i came up with lyrics on the spot and picked samples on the spot too

Since reactivating in the wake of the essential 2009 archival BUFMS box set, 'Induced Musical Spasticity', Bren't Lewiis Ensemble have released more than 40 titles of the finest avant ear wonk around. Much of this activity has proceeded with relatively little fanfare. Perhaps the number of releases is intimidating to some, or maybe well-adjusted society simply has little need for (in their own words) "screeches, recitations, injured vocalizations, inexplicable flurries of bleeps, bloops 'n' splats, and general oh-my-god-how-long-does-this-go-on-for" (personally, I find this latter scenario difficult to accept; hence the desire to release yet more of these bleeps, bloops 'n' splats into the world). Or, and this is the hypothesis that I am advancing, it may be due to the fact that much of this material has been released on that most maligned of formats, the humble CDr (the disdain for which, I emphatically do not share by the way). So, to test this hypothesis, here is a brand new Bren't Lewiis Ensemble album on the Mark Knopfler approved "real" CD format.The sound of this CD is classic latter day Bren't Lewiis Ensemble: heavily edited sound collage; plenty of Orchid Spangiafora style word play; the sound of malfunctioning, sputtering machines; instruments/objects that are blown, shaken, scraped, and generally sabotaged in various ways; et cetera. If the CIA had access to this kind of arsenal during MKUltra, who knows what kind of damage they could have inflicted. Krim Kram - 2022

Debut solo CD by Wuhan-born, London-based artist, Zheng Hao, who also performs in the duos Oishi (with Ren Shang) and ecm (with Joseph Khan). Four lean and sinewy improvisations; the sound of tightly controlled buzzing and rippling electric currents, pointillistic splintering rhythms and textures, sparse jagged incursions, and wiry static blasts. In the artist's own words, Breaks explores "rhythmic patterns from dusty potentiometers and dirty electronic circuits in modular synthesis improvisation". Possible signposts include Jake Meginsky, Voice Crack, etc. Maximal results with minimal means. Should appeal equally to EAI and noise nerds alike.Released 2024 - Krim Kram

Before any instrumentation, Francisco Mela addresses his fellow musicians, pianist Matthew Shipp and bassist William Parker, with a sense of anticipation and affirmation, “Okay guys, ready? Rolling!” The sense of camaraderie and his artist-focused approach is heard throughout the album’s majestic improvisation—as well as in its inspiration, dedicated to Mela’s longtime musical partner, the legendary jazz musician McCoy Tyner. Tyner was well-known for his boundless musical talent, and perhaps best-known for playing in John Coltrane’s quartet, which revolutionized the jazz world and reverberated through the music world at large. But it was his mentorship that truly touched Francico Mela: Tyner encouraged him to explore the boundaries of both his personal expression and his musical ability, affirming the philosophical conviction that music was a gateway to liberation. That pursuit of freedom was a lifelong aspiration, and one borne from community. Mela recalls performing at New York City’s Blue Note with McCoy Tyner, on a specific night when maestro Cecil Taylor came to listen to McCoy’s trio. Tyner and Taylor shared a conversation, and afterwards Tyner returned backstage, gently confiding in Mela, “I wish I were that free. We play music to free our souls.” Likewise, Tyner encouraged Mela to pursue his broadening interests, inspiring Francisco to embrace experimentation and musical freedom. In Music Frees Our Souls Vol. 1, Mela, Shipp and Parker compose an album that is equally innovative and welcoming, offering the best of experimental jazz and paying homage to McCoy Tyner’s indelible creative influence. This is the first chapter of Francisco Mela’s Music Frees Our Souls trilogy dedicated to McCoy, always featuring William Parker on bass but with different piano players on each volume. The album, Francisco Mela’s second from 577 Records following MPT Trio (2021), will be available on limited edition blue vinyl (100 copies), black vinyl, CD, digital. Music Frees Our Souls Vol. 2 & 3 will be released in the near future.

Can music liberate us? Francisco Mela, who worked and partnered with the legendary jazz musician McCoy Tyner, believes so. On this album, the second volume of Music Frees Our Souls, Mela collaborates with pianist Cooper-Moore and bassist William Parker to build a 2-part extended track project of advanced dialogue between 3 of the genre's most important instruments. Tyner was well-known for his boundless musical talent, and perhaps best-known for playing in John Coltrane’s quartet, which revolutionized the jazz world and fundamentally influenced the music world at large. Despite his indelible, wide-reaching impact on experimental jazz, it was Tyner’s mentorship that truly touched Francisco Mela: Tyner encouraged him to explore the boundaries of both his personal expression and his musical ability, affirming the philosophical conviction that music was a gateway to liberation. This album is again dedicated to Tyner’s mentorship and encouragement, suggesting we all embrace experimentation and musical freedom. This second volume/album will be available on limited edition burgundy red vinyl, black vinyl, CD, or download in January 2023. Music Frees Our Souls Vol. 3 is also planned for release in the near future. Cooper-Moore - Piano William Parker - Bass Francisco Mela - Drums Recorded November 13, 2020 by Jeremy Loucas at Douglass Recording, Brooklyn, New York