Second LP in the catalog of German guitarist and instrument inventor Hans Reichel (1949-2011), a program of microtonal string investigations that is still beguiling and fresh four decades later. Originally released by FMP in 1976, with a hilarious cover by Reichel himself. Never before available on CD, remastered from original tapes, packaged with gatefold and tip-on cover reprinting the original design. Like Reichel's debut, a super-rare slice of musical otherness.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods. A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood’s Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin, with new liner notes by Michael Klausman.

A fantastic new release by Rory Salter aka Malvern Brume on Index Clean The two main ideas behind the music are to make use of domestic and work situations. Most of it was recorded in a new flat I moved into last year. The place had a really interesting acoustic and after so many years of making music in whatever flat I was living in I wanted to do something where you could really hear the place it was recorded/the surrounding area. So a lot of the recordings are done in different locations in the flat, and often re-played back into the flat and recorded using different speakers and microphones. A lot of material was recorded whilst performing usual domestic activities and would spend quite a lot of time running between rooms doing other tasks at the same time as recording. The name of the 'On the Floor, by the Door' track is because that's where I recorded a fair bit of it, by the front door. It's in a similar way that I used and included my job in the pieces. I work as a sound technician at a university in the day and as a sound engineer in the evenings a couple times a week. I've been thinking (and talking a lot of shit) about work and art making recently and I’m really into stuff where the persons found some way to include their day job in their art in a way that sort of re-purposes the skills, materials, time etc of work. So anyway I did a lot of this, really thinking about skills I've picked up and making the effort to borrow some really otherwise unattainable equipment. I thought a lot about space and acoustic-ness during the process so a lot of it again is about me wanting sound to exist within a space; reamping sounds into spaces, or recording synthesised sounds through different speakers positioned in ways to filter and alter the sound. A lot of these practices are things I've developed and talked about a lot at work. Friends also feature quite a bit in relatively candid ways and crop up in recordings here and there. I guess there's a desire to get to a point of a 'life' music, where it feels a bit everyday and blurs the line a bit, that's when things are most interesting to me.- Rory Salter

A tremendous collection of recordings from famed Fluxus poet and artist Jackson Mac Low (1922-2004).  Originally published on New Wilderness Audiographics as a cassette in 1977, these recordings have been cleaned up and remastered by Sean McCann in 2018.  Jackson’s beautiful text formulas are supplemented by stereo multi-tracking, creating a spatial jungle of wordplay. One gem of this CD is the live foray into tape manipulation from 1966 featuring the assistance of James Tenney and Max Neuhaus. It is fabled that they took Jackson’s voice and slowed it down to a guttural thunderstorm during playback, resulting in a manic blend of words darting through a black cloud of reverberation.  Only a small amount of Jackson’s sound poetry is available, making this collection a delight to swallow and digest. Produced with Charlie Morrow, we are thrilled to re-present this history to the ears of both young and old. Edition of 250 Glass-mastered CD housed in Jewel-case 8-page insert with scores and introduction by Charlie Morrow

Danish pianist Tom Prehn was one of the first Europeans to deeply explore free music. With his quartet featuring Fritz Krogh on tenor saxophone, Poul Ehlers on bass, and Finn Slumstrup on drums, Prehn recorded Axiom in October, 1963, for Sonet, though it went unreleased until 2015 because the band felt that their music had moved beyond it already. To hear the music they were talking about, one could only turn to two privately-made reel-to-reel tapes, Centrifuga and Sohlverv, recorded in August, 1964, and January, 1965, respectively. Both sessions took place under casual circumstances at Prehn’s summer cottage outside Aarhus, but the music was dead serious – some of the most adventurous improvising yet made by a group on the continent. --- Piano: Tom PrehnBass: Poul EhlersDrums: Finn SlumstrupTenor Saxophone: Fritz KroghRemastered by Sigurd Djurhuus ---TracklistA Side A 22:28B Side B 21:49 --- Released: Corbett vs Dempsey

The original soundtrack performed by Tomeka Reid & co. for the critically-acclaimed, feature-length 2014 documentary, "Hairy Who and The Chicago Imagists," directed by Leslie Buchbinder of Pentimenti Productions. "Hairy Who and the Chicago Imagists" is a lavishly-illustrated romp through Chicago's art history, and the first film to tell the Imagists’ whole story. The narrative begins with the artists' explosion onto the scene in the 1960s, follows their precipitous fade from prominence in the 1980s and '90s, and concludes with their 21st century resurgence in popularity. Over the last 50 years, the Imagists have influenced generations of artists, including contemporary figures like Jeff Koons, Chris Ware, Kerry James Marshall, Peter Doig, and Gary Panter. The Imagists' roller-coaster ride through art history is re-created in this film with a wealth of archival footage and photographs, and over forty interviews with the Imagists themselves, critics, curators, collectors, and contemporary artists. Chicago-based cellist and composer Tomeka Reid, a mainstay on the Windy City scene and an important contemporary member of the A.A.C.M., was commissioned to create original music for the first documentary to chronicle the Imagists, Chicago’s hometown post-surrealists who exhibited together starting in the mid-1960s. Reid composed theme music for the film and made a wide range of multi-track improvisations based on moods, creating a tableau from which the film drew as it unwound the artists’ circuitous tale. For the CD, Reid returned to the studio to make new versions of some of the tracks and to transform the extant material into a fully realized suite of music. It retains a sense of light-heartedness and depth, whimsy and melancholy, adding voice and percussion to her indelible cello.

Three Things is a new full-length album of pieces conceived, performed and recorded by long-term collaborators Luciano Maggiore and Louie Rice. The pair are known for multi-pronged activities as artists and organisers which have quietly but surely informed the shape of the United Kingdom's experimental audio underground for many years. Under the guise of NOPAON, they developed a series of events and performances in which they realised scores by Alvin Lucier, Robert Bozzi, Ken Friedman, Emmet Williams, Walter Marchetti and of their own creation. These outputs, described by the duo as 'unrewarding task-based actions' or simply 'two people in a room, doing something’ have resulted in an ongoing performance practice based on prompts actions and scenarios which they continue to explore.A persistent quality in Maggiore and Rice's work is a wilful embrace of humour and the acknowledgement of their performances as a basis for absurdity. This element runs throughout Three Things, starting with Hissing for White Shoes (#6), where an otherwise unremarkable recording of a drive around London is punctuated by loud hissing whenever their vehicle passes an unwitting participant in the street, their footwear acting as a prompt for the vocal intervention. The same sense of humour looms large in Pocket Fascinator (#7) where audio derived from EMS Stockholm's Buchla synth is played back and re-recorded via mobile phone speakers in the duo's pockets as they attempt to walk in sync with its pulses. Phone Work, the first piece realised outside of the project's typical real-time approach, is a sequence of voice recordings exchanged via WhatsApp where they mimic each other's contributions until all memory of the original has been lost. The results are set to synthesiser in a nod to the duo's long-standing interests in electronic music as solo artists.Like everything Maggiore and Rice turn their hands to, the maddening audacity of Three Things is fundamentally driven by sincere observations of the historic avant-garde. At the heart of these recordings lurk conceptual strategies recalling the core methodological projects of Fluxus, classical sound poetry, field recording, electronic music, movement-based performance and contemporary composition. Their willingness to direct such methods toward nakedly silly outcomes whilst poking subtle fun at the emergent tropes of these cultures reinforces an entirely serious inquiry into the modern-day application of avant-garde technique in sound creation. When accepted in full, Three Things is a challenging, amusing assertion of genuine commitment to experimentation and aesthetic stress-testing.

Conducted by Mats Gustafsson for two 9 piece chamber ensembles, 4 soloists, tape machine, turntable Recorded at the Avant Art festival, Warsaw, Poland, 2022 Mixed by Mikael Werliin and Mats Gustafsson spring 2023 Mastered by Mikael Werliin 2023 Produced by 'In Between Norway & Poland Culture / Avant Art'', Mats Gustafsson and TROST. Original art and images for Hidros 9 Mirrors by Mathias Pöschl Graphic Score by Mats Gustafsson

Recorded by Mikael Werliin May 5th, 2022, At CODES Festival, Lublin Additional recordings by Mikael Werliin Sept 30th 2022 at Polish Radio, Warsaw Mixed by Mikael Werliin and Mats Gustafsson autumn 2022 Mastered by Mikael Werliin April 2023 Produced by 'In Between Norway & Poland Culture / Avant Art'', Mats Gustafsson and TROST. <

Ergodos is proud to announce the release of "Strange Waves", an enveloping new record from cellist Kate Ellis and composer Ed Bennett. A large-scale work in six parts, "Strange Waves" blends music for eight cellos with field recordings made on the County Down coast and on Ireland’s northernmost island, Rathlin, in the North Atlantic. The music unfolds with an extraordinary sense of inevitability: Dense constellations of rapid figures evolve into rich, swirling synth-like textures. Ravishing microtonal sonorities overlap hypnotically with the steady pulse of lapping waves. Surreal chorales are revealed slowly, deliberately – at once mysterious and reassuringly, uncommonly elegant. Kate Ellis on the evolution of the project: "This record began with an email in my inbox from Ed early in 2020 saying: 'I'm dabbling with a piece at the moment for 8 multi tracked cellos... I’m thinking quite big, and it could be record in itself with multiple movements...' Ed sent a first draft of the score in June of 2020. The music he had created was immensely beautiful and resonated strongly with the strange sense of calm and slowing of time that I was experiencing and so began the recording of ideas between lockdowns. The final recording of the piece took place between May and June of this year at home in Crumlin, Dublin." Ed Bennett on the inspiration for the work: "Growing up by the Irish sea, the sound of waves has been ever present in my life and in recent years has found its way into the music. At first, I didn’t notice this, but as I started to hear overlapping textures and loops in my work, I realised that there was something about this seemingly endless quality I was seeking." "Strange Waves" can be performed by a soloist with seven pre-recorded parts or as a live octet. On this recording all eight parts are performed with extraordinary poise and precision by Kate Ellis. This record marks a major statement from two of Ireland’s most dynamic and prolific contemporary music practitioners.

Legendary double bass player, multi-instrumentalist, composer, writer & activist William Parker is back with the music for AquaSonic waterphone quartet – a mystic instrument built by Jackson Krall. The band consists of two acclaimed visual artists, Anne Humanfeld & Jeff Schlanger, and two versatile musicians, William Parker himself & an Estonian drummer and composer, Leonid Galaganov. The music probably sounds like nothing you've heard before: tribal? contemporary? electronic? free improv? future? …? It's a one way trip. He did it again.

VHW7 stands for VELOCITY HOLOMATRIX WARP 7. This music is also featured in its totality in the virtual reality immersive digital visual-sonic experience designed by Theo Triantafyllidis & Sun Araw. VELOCITY HOLOMATRIX WARP 7 was shown at: Berliner Festspiele, Zeiss-Großplanetarium in Berlin, MIRA Festival in Barcelona, Eugenides Foundation Planetarium in Athens, and continues to travel the world.

The Trans-Pecos is a land of stark beauty, dotted with javelinas, ghost towns and small mountain ranges. There’s Marfa, known for its lights and minimalist art, and Terlingua, a tight-knit community of old-timers near the Texas-Mexico border; Alpine, 12,000 strong, is the region’s center. The winter holidays of 2018 found Cameron Knowler and Eli Winter touring through that part of the state. Each night they played solo and duo sets, interpreting traditional folk songs and showcasing their own, unifying seemingly disparate approaches to the guitar. Anticipation, the first album of gorgeous duets by the two young gun guitarists, is the product of this trip, documenting a musical juncture between desert and city, Chicago and the Southwest, folk traditions and America's musical avant-garde. At first, Knowler says, their collaboration “seemed insurmountable conceptually.” Knowler, a Houstonian by way of Yuma, Arizona, came to bluegrass guitar through an obsession with Norman Blake, teaching himself over years of practice sessions 12 to 16 hours long. Since then he's gigged at bluegrass festivals, house shows, hoedowns and honky-tonks, working as a session musician, sideman and teacher, and honing a measured approach to the guitar informed as much by wide-ranging folk cultures as the silence of the desert. Only 23, Winter (named an artist to watch by The Guardian and “generational talent" by NYCTaper) has developed a moving command of the instrument like that of his inspirations Daniel Bachman and Jack Rose, with an energy and confidence honed from extensive touring and performances with Chicago experimental music touchstones (Ryley Walker, Sam Wagster, Tyler Damon). The bulk of the record was composed and recorded in Houston, in a marathon nine-hour session completed on the eve of Winter's return to Chicago last year. Several recordings, including the bookends, are first takes. Album opener “Strawberry Milk,” which emerged fully-formed, sets the tone: sweet, inquisitive, daring. It's not unlike “Parapraxis of a Dragonfly,” which moves from lush, constellate harmonies to enigmatic, spiralling progressions and harmonics suggesting Derek Bailey. The circumstances of the session forced the two to play outside of their comfort zones, building a new vocabulary of playing. This is most clear on freely improvised piece “Sippin’ Amaretto,” which crafts melodies from dissonance, pivoting between power chords and comical, stupefying licks, as if Charlie Christian were running on three hours of sleep. But it's true of the gentler "Cumberland Application,” a playful, pointillist arrangement of folk song "Cumberland Gap." Western suggestions run throughout: on "And So I Did,” Knowler renders Winter’s bracing Weissenborn tune into a dusky cowboy noir. Later, he complements his sensitive rendition of Michael Chapman's “Caddo Lake,” after the lake bordering Texas and Louisiana, with dizzying contrapuntal runs. Their rendition of Tut Taylor’s "Southern Filibuster," sourced from the homecoming show of the aforementioned Texas tour, is rousing and comforting, like a bear hug from an old friend. The record’s centerpiece is "A White Rose for Mark," a tribute to late fingerstyle guitarist Mark Fosson, with whom Winter and Knowler played his last concert before his death. Knowler lays the foundation for Winter's harmonies, simultaneously recalling orchestral voicings and Nigerian highlife; the song, spontaneously composed, opens over three sections like a flower from a seed. It often feels as if they're playing one guitar. Their willingness to set distinct conventions in conversation with each other advances guitar music, resulting in a record experimental, learned, eager and uniquely their own. Anticipation nods to its forebears while staking out its own ground, further establishing Knowler and Winter as musicians to watch.

Mazen Kerbaj is widely considered as one of the initiators and key players of the Lebanese free improvisation and experimental music scene. He is co-founder and active member of MILL, the cultural music association behind Irtijal, an annual improvisation music festival held in Beirut since 2001 (www.irtijal.org), and co-founder of Al Maslakh, the first label for experimental music in the region operating since 2005 (www.almaslakh.org). 
As a trumpet player, whether in solo performances or with long-lasting groups like “A” Trio, Kerbaj pushes the boundaries of the instrument and continues to develop a personal sound and an innovative language, following in the footsteps of pioneers like Bill Dixon, Axel Dörner and Franz Hautzinger.Playing in solo has always been an important part of Mazen Kerbaj’s musical journey; it is in this bare-bones setup that he can experiments the most with his instrument, pushing it beyond any recognition. His use of various every-day objects (tubes, plastic bowls, balloons, aluminum foil…) to “prepare” the trumpet, and his unique playing techniques allow him to create raw soundscapes that sound sometimes like electronics (he describes himself his trumpet playing as “playing electronic music, acoustically”), especially when he plays several continuous layers of sound at the same time on an instrument that is not designed for that.Be it in his various recordings or in live concerts, in acoustic or in amplified setups, Kerbaj’s trumpet solos never fail to surprise. Sampler/Sampled is an album made of two interdependent parts rather than a double-album.The first part of the project, Sampler, is a trumpet solo album that catalogues the unique sounds and extended techniques that Mazen Kerbaj developed for the instrument in the past 25 years; it consists of 318 pieces ranging from less than a second to forty seconds each, and presenting different sonic materials.This catalogue of sounds works on various levels: first and foremost, it is a trumpet solo that could be played in its original order, or in random mode to create different pieces of music. But it is also a collection of samples that could be used for various applications (ringtones, phone sound effects, cinema…) and, of course, to create new pieces of music based on sampling.
The second part of the project is the composition Sampled for a musician working with loops and/or samples. The composition has one instruction: create a piece of music using solely tracks from Sampler as your sound source (with the possibility to use all kind of effects or treatment). Each interpreter/musician becomes thus a co-composer who appropriates the piece and makes it their own. In this regard, the musicians that were commissioned to play Sampled were chosen from different geographical origins and musical genres to create highly different and personal pieces of music.
One important output of this project is putting in practice the overused idea of music as a universal language. This idea is very present in “free improvised music” where musicians from different origins can meet for the first time and make music together without the need to adapt to different musical traditions.But here, the collective part of creating music in real time is not involved. It is rather the contrary: it starts with one middle-eastern musician creating a new language/vocabulary for his western instrument, to be later used by other musicians from around the globe who will appropriate this vocabulary and use it with their own language/grammar.The final output of this double faceted album that was recorded during the Covid lockdown proved to be a very efficient new way to collaborate from a distance in times of world isolation, and ultimately put in practice the universality of music by breaking the boundaries of genres that are the most difficult to break.
THE LIVE VERSIONSampler/Sampled is also a modular concept for an evening of live performances. It could for example start with an acoustic solo by Kerbaj (Sampler), followed by an improvising turntables duo playing a live version of Sampled, then an electronic musician presenting yet another version of it, to end up with a DJ set mixing all the recorded versions of Sampled (Sampled Re-Sampled). Sampler / SampledMazen Kerbaj Trumpet Solo Vol. 3FEATURING: Deena Abdelwahed, Rabih Beaini, Fari Bradley, Dieb 13, DJ Sniff, Gavsborg (Equiknoxx), Electric Indigo, Donzilla Lion (Nyege Nyege), Marina Rosenfeld, Microhm, Muqata’a, Bob Ostertag, RroseDisc one: Sampler Sampler was performed by Mazen Kerbaj on the trumpet, with or without the addition of various objects (as referenced in the tracks’ titles and the inside catalogue)A / Samples 1-168B / Samples 169-318Disc two: Sampled Sampled is a composition for one musician using solely Sampler as their sound sourceC1 / Blue Malediction – by Deena Abdelwahed and Mazen KerbajC2 / norm hollows function – by Dieb 13 and Mazen KerbajC3 / Pendulum – by Rrose and Mazen KerbajC4 / Untitled – by Marina Rosenfeld and Mazen Kerbaj C5 / Chainsaw – by Rabih Beaini and Mazen KerbajC6 / Time Traveler – Donzilla Lion (Nyege Nyege) and Mazen KerbajD1 / Trumpet Zoo – by DJ Sniff and Mazen KerbajD2 / Mazen's Trumpet – by Electric Indigo and Mazen Kerbaj D3 / Untitled –  by Muqata'a and Mazen KerbajD4 / Dreams of Dust – by Microhm and Mazen KerbajD5 / The sign to Return is in the Earth's Spin – by Fari Bradley and Mazen KerbajD6 / Now Serving #8190 – by Gavsborg (Equiknoxx) and Mazen KerbajD7 / Untitled – by Bob Ostertag and Mazen KerbajSamples 1 to 318 were recorded by Mazen Kerbaj on December 1-3, 2020. They are presented as recorded, with no additional cuts, overdubbing or use of electronicsSampled 1 to 13 were recorded by the respective artists between December 2020 and March 2021. All kind of manipulations and effects were used in various proportions in each pieceMixed by Mazen Kerbaj, and the respective musicians.Mastered by Rashad Becker.Cover Artwork by Lorenzo Mason Studio with Mazen Kerbaj.Liner Notes by Nate Wooley.Produced by Morphine Records and the DAAD Artists-in-Berlin- Program.Supported by Musikfonds.

Track List 1. 约瑟翰·庞麦郎 Joseeh Punmanlon - 我的滑板鞋 My Skate Shoes 02:502. 马木尔 Mamer - 我的滑板鞋（电子版）My Skate Shoes (Mamer Version) 04:38 母带处理 Mastering：刘英 Liu Ying制作人 Producer：涂飞 Tu Fei统筹 Coordinator：尹思卜Yin Sibo、李绮琳 Li Qilin封面木刻 Woodcut：刘庆元 Liu Qingyuan封面设计 Design：陈铁梅 Chen Tiemei 旧天堂书店 & B10现场 联合出品Published By Old Heaven Books & B10 Live, Shenzhen in 2021

曲目简介 Tracks in Detail 01. 驼队 Kêrwên / Camel Caravan 02:33塔塔尔族民间乐曲 Tatar folk music 02. 你的眼睛 Kɵzdêring / Your Eyes 02:29塔塔尔族民间乐曲 Tatar folk music 03. 卡拉特根 Ⱪara têgin / Kara tegin 02:19塔吉克族民间乐曲 Tajik folk music 04. 十五满月 On bês kundik twƣan ay / Full Moon on the 15th 01:57蒙古族民间乐曲 Mongolian folk music 05. 锡伯族民歌 Sibê haleⱪ ǝni / Folk Song of the Sibe 00:56 06. 劝导 Nasyhat / Persuasion 02:43柯尔克孜族民间乐曲 Kyrgyz folk music 07. 萨热阿尔卡 Sararⱪa / Saryarka 02:36作曲 Composed by：库尔曼哈孜·萨赫尔拜吾勒 Kurmangazy Sagyrbaev《萨热阿尔卡》是库尔曼哈孜的巅峰之作，据说是库尔曼哈孜逃离伊尔库茨克监狱后，在阿尔卡地区看望作曲家塔特穆别特（Tǝttimbêt）时献给对方的作品。Considered Kurmangazy’s masterpiece, “Saryarka” was said to be a tribute to his fellow composer Tǝttimbêt, whom Kurmangazy paid a visit to in the area of Saryarka after escaping from the Irkutsk Prison. 08. 阿克拜 Aⱪbay / Akbay 04:21作曲 Composed by：库尔曼哈孜·萨赫尔拜吾勒 Kurmangazy Sagyrbaev阿克拜是曾经迫害库尔曼哈孜的村中恶霸奥巴克尔的父亲，库尔曼哈孜以这首作品痛诉乡绅的恶行。Akbay is the father of Aubaker, a village bully who used to persecute Kurmangazy. Kurmangazy wrote this piece to denounce the evil deeds of the country squires in his time. 9. 阿拉山 Alataw / Alatau 03:03作曲 Composed by：库尔曼哈孜·萨赫尔拜吾勒 Kurmangazy Sagyrbaev《阿拉山》是库尔曼哈孜在某次关押期间创作的曲子。Alataw音译为“阿拉套”，是位于中国新疆博尔塔拉蒙古自治州与哈萨克斯坦七河地区之间的山脉。“Alatau”, named after the Dzungarian Alatau, a mountain range that lies on the boundary of the Dzungaria region of China and the Zhetysu region of Kazakhstan, was written during one of Kurmangazy’s prison sentences. 10. 卸脚镣 Kisên axⱪan / Unshackling 02:21作曲 Composed by：库尔曼哈孜·萨赫尔拜吾勒 Kurmangazy Sagyrbaev这首曲子名字就反映了库尔曼哈孜多舛的命运。1857年，库尔曼哈孜因带头反抗沙俄殖民者对自己所在部落的恶行而被捕关押于奥伦堡监狱，之后在一次逃狱途中被牧民收留，《卸脚镣》就是躲藏在牧民家养伤时创作的曲子。The title itself epitomises Kurmangazy’s turbulent life. In 1857, Kurmangazy was arrested and held in Orenburg Prison for leading a rebellion of his clan against the Russian colonisers. During a subsequent prison escape, he was given shelter by a herdsman. “Unshackling” was written when he was hiding and recuperating in the herdsman’s home. 11. 令妇 Kêlinxêk / Virtuous Wife 02:00哈萨克民间乐曲 Kazakh folk music 12. 游击队之歌 Partyzandar marxe / Song of Guerrilla Forces 01:25作曲 Composed by：贺绿汀 He Luting

"It is not only an album, but also a complete documentary of an event. We combine cassette and CD into one album so that one may review the unusual art project from different aspects. It also includes a precious booklet about everything said on the talks. Each track in the album is heard for the first time. For the project, Lao Dan and Mamer created brand new works. Mamer even began a new band named Mask. One remarkable song that didn’t be recorded is Water Flows sang by Wu Tiao Ren’s Mao Tao in the end of his talk. Thanks to the impressive work of mixing engineer Liu Ying, the sound quality of the album turns out really spectacular." - Tu Fei