Another snapshot of lockdown life here on the shitty Brexit Isles, This time Odie ji Ghast aka Greta Buitkute (Labas Krabas, Historically Fucked etc) invites you to their abode in the thriving creative hive of Gateshead (don't call it Newcastle, ya bam!). Multitracked vocals (both gibber and song) get mixed in with dictaphone, home appliances, keyboards and "loud thoughts". An intimate insight into the clutter revolution."2020 summer full of domesticity that's soaked in time slow moving back and forth between arising direction and reflections on past crumbles" - Odie ji Ghast --- Chocolate Monk, 2021

More processed surreal appeal from Wino Lodge's hardest working dweller. The words are garbled, but the tapes and gadgets are in enough oscillation to keep your ass anodic. It's hard to believe Miss Constance's craft graft wasn't always so strong but two chance meetings at a early age set her on the path of prevelance. Firstly meeting the Tartan Lads in Blackburn Chemists at the age of 7 where "Scotland's top performing duo" informed her "even a wee lassie can wear a skirt of many colours." and just a few years later a caged Myna bird in a pub in Coldingham told her "the life of an artist is a fucktards waddle!" or maybe it was the other way about, either way she implores you to fill your boots with fruits & vegetables, create and be damned. Heed. --- Chocolate Monk, 2021 --- CDR, Edition of 60

With the CDR edition sold out, Chocolate Monk and Butte County Free Music Society pressured their respective kingpins to add another 30 minutes of audio and a couple more frames of Karen Constance artwork for an expanded reissue on CD (not a CDR) in a six-panel eco-pak. Churning and honking like a couple of white apes in a suntan lotion sento, Nyoukis and Glass bromance the mud for a solid uninterrupted (almost) hour. They manipulate field recordings, befoul sound effects recordings, loot audio thrift store cassettes, violate the public domain, and contaminate domestic objects. Auntie Pearl clinks and coughs and laughs and listens to Led Zeppelin. Duncan Harrison tries to teach Ms. Elkka how to ollie in a Hastings train station after a day getting pissed with Steve Underwood, because life skills. It’s just a good long wallow in ghostly moon flatch, something you look like you could use right about now. Allow the duo’s ballet-dancing electronic bendables to pirhouette and plié through your skull. A little equilibrium-challenged DNA, splatters of tube-squeezed murk, and descending plasmatic crud are the universal pick-me-up. If not yourself, do it for the plague babies. --- Mastered by Julian Tardo at Church Road Studios. .Edition of 150 --- Chocolate Monk and Butte County Free Music Society, 2021

A sparse and subtle jungle comprises the pieces that make up "pietra e oggetto". It is subtle, as such it remains in the memory. Thanks to the device of silence, which is like the air in between things, it allows time for what we have heard to imprint on our acoustic sketchpad. Like closing your eyes to preserve a memory and then moving on to the next. We feel a certain privilege in listening to these undecidable environments; these composite and hybrid objects filled with synthetic biodiversity, on the threshold between nature and culture. We access this privilege thanks to the cutting operation, a coring practice that cuts out salient acoustic narratives, fished (and then triggered) from a potentially limitless flow; rooms of occurrences and dark pink rustles from the undergrowth. --- 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-humananimal languages, dance, 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 are published by Balloon & Needle, Boring Machines, Consumer Waste, Hideous Replica, Kohlhaas, Palustre, Senufo editions, 1000Füssler, TakuRoku, Triscele Registrazioni and Tulip records. --- Recorded and edited between May 2019 and May 2020. Mastered by Giuseppe Ielasi. Liner notes by Gaspare Caliri, translated by Laura Matilde Mannino. Cover drawing by Luciano Maggiore. Design by Matteo Castro.

9 short pieces, based on cassette recorders and small electronics. Recorded and edited between August 2017 and February 2018. Mastered by Giuseppe Ielasi. Luciano Maggiore (Palermo 1980) lives and works in London. Active musician in the field of electroacoustic music, in recent years he has developed a strong interest in the mechanisms of sound diffusion, using speakers and several analogue and digital devices (walkmans, CD players, tape recorders) as principal instruments. His interest is focused on the architectural and psychoacoustic as well as dynamic and directional values of sound with a strong emphasis on fixed sounds. His works are published by Balloon & Needle, Boring Machines, Consumer Waste, Hideous Replica, Palustre, Senufo editions, 1000Füssler, Triscele Registrazioni and Tulip records. --- Senufo Editions, 2018

Z'EV has been exploring and breaking ground in the audio and textual fields since the mid 1970s. Although best-known for his metal-based percussive performances, uns, his electronics and vocal-based whirlwind, was one of the most innovative (and individual) audio experiments of the early 1980s. uns's combination of sound poetics and voice treatments with dense sonic landscapes resulted in challenging, unique, and rewarding audio.A historical testament to the challenge uns presented appears on the first track of this 2 CD set, when some of the audience members -- in addition to repeatedly shouting 'Die!' as the set concluded -- shout out for Flipper. Given the ire Flipper drew from their audiences, the fact that the audience preferred that disconnect to the disconnect uns was creating speaks volumes about the gauntlet uns had thrown down. Even when uns was active (1980-83), recordings were extremely difficult to come by and live performances were infrequent. This new 2 CD set presents four live performances, with only fractional snippets previously released anywhere. For fans of: uns, Z'EV, Lieutenant Caramel, sound poetry, musique concrete. --- Crippled Intellect Productions, 2010

Michael Winter's extraordinary composition from 2015, a seven-part canon which starts off fast and gradually slows down over its 45 minute duration. Performed by Liminar, Mexico's leading ensemble for contemporary music. The cover image cover and corresponding caption are reprinted from the book Matters Computational by Jörg Arndt --- Another Timbre, 2021

5 chamber works by James Weeks, beautifully performed by Explore Ensemble. An album of interlinked pieces that form a sequence. James Weeks says "I was aware of tying the pieces together as a set, by continuing and extending certain poetic ideas, ways of using and combining instruments, and ways of thinking about material....Things like the use of mixed instrumental duos, which comes from Violet-Violute, the use of a slow-moving or static background harmonic layer, which comes from Summer, the overall very soft and intimate instrumental idiom based on long, breath-length sounds, which appears in all the pieces other than Durham. And finally of course the poetic idea of a piece as opening up an imaginary (or remembered) space: music which unfolds as an area or a field, for the listener to wander in without having to follow a complex series of narrative events." --- Another Timbre, 2021

5 chamber works by UK-based composer Oliver Leith, performed by Explore Ensemble   --- Cover drawing by Susan Te Kahurangi King Performed by Explore Ensemble --- Another Timbre, 2021

A 40-minute composition for sextet and field recordings, combining harmonies taken from the music of Australian composer Peter Sculthorpe with field recordings made on Whadjuk Noongar boodja (country), Western Australia. --- Josten Myburgh (composition, alto saxophone & electronics) Jet Kye Chong (percussion) Jameson Feakes (electric guitar) Stuart James (piano, electronics) Djuna Lee (double bass) Kirsten Smith (flutes) Cover image: still from the film 'Night Parrot Stories' by Robert Nugent (2016) --- Another Timbre, 2021

Portuguese pianist Tiago Sousa follows 2015's solo piano album "Um Piano nas Barricadas" with this heady set, based on themes of nostalgic escapism, repetition, temporality and other existential concepts. Don't worry if that sounds like too much to get stuck into now, the tracks here are pensive, but can be enjoyed without having a working knowledge of  Heidegger, Camus or Kierkegaard. Souza's skill is in his attention to the texture of the sounds he works with - the anxious squeal of the clarinet, the distant rush of cymbals, the familiar twinkly of piano - and his arrangements are minimal, but always engaging. "ANGST" is a pensive and expressive exploration of the modern condition and it's enchanting --- Released: Discrepant, 2021

Eryck Abecassis (b 1956) is a french-algerian composer, musician and electric guitar player. He went to Paris in 1976 to study film at the CLCF (Conservatoire Libre du Cinéma Français) and worked as a photographer. From 1979 to 1983 he took private lessons in composition and harmony with Julien Falk (1902-1987) and studied Jazz orchestration with Derryl Hall at the Centre d'informations musicales in Paris. In the following years he took various courses at IRCAM, among others in instrumental research and computer music. He took lessons with Jean-Claude Risset and in 1994 with Pascal Dusapin at the Centre Acanthes. In 1997 he took part in the Cursus Annuel de Composition et Informatique Musicale at IRCAM. "Siamoises" is his 3rd solo album and 2nd contribution to the Fragment Factory label catalogue (after "La Gueule Du Loup" w/ Francisco Meirino, 2017). Composed and recorded in Paris 2018, "Siamoises" is the pairing of Eryck's instrument of choice, an Ibanez 2404 double neck e-bass/guitar, with a modular synthesizer. --- Fragment Factory, 2020

Tracklist: 1. Mynyddoedd Cymru 2. Glyn Tawe 3. Paul Robeson ac Eisteddfod y Glowyr 1957 4. Llyfrau Gleision 1847 5. Pa Beth yw Cenedl? 6. Tryweryn 1965 7. Pa Beth yw Dyn?  Cwmwl Tystion is a suite of music, composed by Tomos Williams, which celebrates and questions the idea of Welshness. It was recorded live at Taliesin Arts Centre, Swansea and Café OTO, London in June 2019, in performances given by a specially formed group of Welsh musicians. --- On this CD, recorded Live at Cafe OTO, the band perform a newly composed Suite incorporating elements of jazz, the avant-garde, improvisation and Welsh folk music. The name 'Cwmwl Tystion' is derived from a poem by the great Welsh poet Waldo Williams - the music "bares witness" to these complex and difficult times. This was the first time Huw Warren (Quercus) and Rhodri Davies (Hen Ogledd), both leaders in their field and musicians of international reputation, performed together, while Mark O'Connor, Huw V Williams and Francesca Simmons all bring unique contributions to the project. --- Tomos Williams - trumpetHuw Warren – pianoRhodri Davies – harp, electronicsFrancesca Simmons – violin, sawHuw V Williams – bassMark O'Connor – drums

Hard to get hold of Kurachi CD - 'Supermarket Chitose'. Huge work from 2007, building on the vast landscape of 'I Heard The Ground Sing'. Each instrument is played and recorded by Kurachi, overdubbed and mastered by Taku Unami. Includes a remake of the "Tower" included on 'Rumors Buffalo'. Multiple voices in a moving landscape, meeting, passing each other, and at one moment, coinciding as if by chance.  "Each word is more everyday than ever. Spoken words come and go, secretly or loudly. The background of the self-portrait appearing on the jacket is a supermarket. It is said that "Best Camera" refers to a real consumer electronics retailer based in Kyushu. Too everyday. Nevertheless, the landscape that I have never seen spreads. Includes "Kurano" - an origami paper by origami artist cochae, which is also on the jacket." Enban

Available as 320k MP3 or 24bit FLAC  Tracklisting: 1. A/C - 35:53 2. D/C - 43:14 --- Praise for Decoy: “an improvising trio that rocks and swings so hard it’s dangerous…a band that redefine the words “shock and awe” – Duncan Heining, Jazzwise “A cult following is not far behind” –  John Fordham, The Guardian “Hawkins, Edwards, Noble and McPhee have created a performance—and a record—for the ages.” –  Clifford Allen  “a vision not just of what music can be and do, but of what it can become” – Richard Williams in the liner notes for Decoy’s first release, “OTO”.  Two totally infectious sets from Decoy - the trio of John Edwards, Steve Noble and Alexander Hawkins - reunited with pocket trumpet and saxophone player Joe McPhee on the closing night of his four day residency at Cafe OTO. In the eight years between the recordings which make up ‘AC/DC’ and their last release ‘Spontaneous Combustion’, Decoy and each of its members have been practicing individually at the very top of their form. Coming together again in such celebratory circumstances and in the good company of a fantastic crowd set the scene for a very special night.  As they begin, Alexander Hawkins casts a needling surface between his Hammond organ and John Edwards’ loose splatters and slaps of low end bass. McPhee skitters over them with his pocket trumpet by way of introduction; Steve Noble strikes his rims in anticipation. The mood in the room is that of a rock band reformed, of a certain number of “boys” being “back in town”. The first set sees moments of frenetic free jazz peel off into weirdo soul territory and when switched to saxophone halfway through, McPhee’s romantic lyricism is utterly beautiful. When a groove sets in, Hawkins’ B3 ascension in harmony with an ever powerful Edwards-Noble rhythm section sees the room thicken and swirl to the point of giddiness. There is one unreal part at 22:22 where we’re sure you can hear Edwards’ bass vocalising.  Regrouped for a second set, Steve Noble’s metallic textures meld with detuned arco bass to create an unholy atmosphere, ripe for Hawkins to play out the eerier end of the Hammond. When McPhee sounds a sax motif the band catches it quickly and it’s soon wickedly morphed and stretched by each player, recurring to absurdity in a stoned out funk free for all.  The whole recording bleeds enthusiasm and joyful imagination and is a brilliant document of an unforgettable evening. Decoy are a limitless band who play nowhere near enough. We cannot attest to them any more: Book them, buy this, go and see them if you can.   --- John Edwards / bass Alexander Hawkins / hammond b3 Joe McPhee / pocket trumpet, alto sax, voice Steve Noble / drums --- Recorded live at Cafe OTO by Shaun Crook on Friday 10th May, 2019. Mixed and mastered by James Dunn. Artwork and layout by Oliver Pitt. Photos by Dawid Laskowski. Printed in an edition of 1000. OTOROKU023CD.

Ashley Paul's Heat Source was recorded during a challenging year of transience between New York and London. During this year of impermanence Paul performed regularly and the effects of frequent performance and traveling can be heard in the intentionally pared back emptiness of Heat Source. making it an emotionally challenging and fascinatingly personal listening experience.Heat Source finds Ashley Paul working using her brilliant ears to find a zen like balance between her voice and a sparse arrangement of staccato instrumentation leaving as much open space on one song as most people would create in a lifetime. This open space isn't empty, however, but it's up to you to fill in the meaning. Heat Source is an emotionally challenging and fascinatingly personal listening experience that creates a powerful pace. Ashley Paul is a performer and composer based in Brooklyn, New York. She uses an array of instruments including saxophone, clarinet, voice, guitar, bells and percussion, mixing disparate elements to create a colorful palate of sound that works its way into her intuitive songs; free forming, introverted melodies. This blend manifests beautiful and simple musical forms against acoustic experimentation. Her solo albums have received high praise being chosen in Wire Magazine "Top 50 Releases of 2013, Pitchfork "Best Experimental sounds of 2013", first on Byron Coley and Thurston Moore's "Tongue Top Ten" in Arthur Magazine and included on NPR's All Songs Considered "Best of 2010". She has been interviewed or featured in Wire Magazine, BOMB, Gonzo (circus), Dummy, The Quietus, Ad Hoc, Spex, The Sound Projector and Foxy Digitalis.Ashley has performed or recorded with Phill Niblock, Rashad Becker, Nik Colk Void, Loren Connors, Aki Onda, C. Spencer Yeh, Anthony Coleman, Joe Maneri, Joe Morris, Seijiro Murayama, Greg Kelley, Bill Nace and Eli Keszler appearing on such labels as PAN, ESP-DISK' and Tzadik. She received a Masters of Music from New England Conservatory in 2007.

In Tom Mudd's work, the conceptual and technological processes are paramount. For this particular release, both are embedded in the Gutter Synthesis algorithm and software which was created for and used in all six tracks. An inevitable consequence of this way of working is that masses of material can be created, which then requires both selection and editing. Once these decisions havetaken place a strange, apparently contradictory, perceptual shift takes place towards the material. The listener is confronted with complex, intense and emotionally charged musical events. This was not Tom Mudd’s intention as he’s not overtly concerned with personal expression. A deep interest in algorithmic computer processes is his guiding principal. Yet from this apparently cold approach to making music comes vivid, dramatic, sound art, packed with rich emotional layers that never operate at the level of the trite and illustrative. There is also a strong formal and structural quality to his pieces that allows, in the best possible sense, the listener to ‘immerse’ themselves in this challenging sound world. John Wall, London, December 2017Gutter Synthesis software Gutter synthesis is a purely digital synthesis process that creates very physical, acoustic-like sounds using a network of resonant Duffing oscillators. The software was created specifically for this project, and is included with the release as an equal part of the creative output. The downloadable version uses an interrelatedset of eight Duffing oscillators and associated filter banks.

GUO is the duo of guitarist and singer Daniel Blumberg (Hebronix, The Howling Hex) and saxophonist Seymour Wright. Both use heavy distortion and extreme amplification which is later processed and manipulated with metal cassettes to create a multi-layered, lacquered object of sinister, fizzing, metallic beauty. GUO1 with text by David Toop, was the beginning of an on-going series of releases that include etchings made by the duo and a piece of ekphrasis from a creative writer responding to the music.