Compact Disc

Rabbit Eclipse is the second full-length recording from the legendary Księżyc following on from their self titled debut from 1996. The Moon never went away. The 2013 the Penultimate Press re-issue of Księżyc’s timeless debut exposed the band to a large new audience resulting in a return to live performance and the subsequent development of new material. Rabbit Eclipse was recorded in Warsaw throughout May to September 2015 within the idyllic Palladian palace Królikarnia (The Rabbit House). All original members gathered to conjure the peculiar hybrid of the the ancient and the contemporary unique to the band. With more expanded forms, Rabbit Eclipse presents a rich and subtle environment of beguiling narratives hanging in suspended tension. This opens up an entire new phase in the cycle of the band where an enchanting discrete musical continuum of rich and subtle sound excursions are enveloped in a mysterious melancholia. Rabbit Eclipse is another exemplary presentation from one of Poland’s most idiosyncratic and respected outfits. Line up: Agata Harz - vocals, objects Katarzyna Smoluk-Moczydłowska - vocals, keyboards, objects Lechosław Polak - accordion, keyboards, synthesizers Remigiusz Mazur Hanaj - tapes, hurdy-gurdy, violin Robert Niziński - clarinet, keyboards, objects Paweł Romańczuk - Fidel, Stössel-Laute, objects Track listing: 1. Kapkowa 2. Mglista 3. Flażoletowa 4. Walczyk III 5. Syreny   Rabbit Eclipseis packaged in a 4-page DVD format digipack in an edition of 500 copies

Księżyc - Rabbit Eclipse CD

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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.

Ashley Paul - Heat Source CD

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It is always a treat to see some major musical innovators in action. Especially in a mind-blowing line-up, at the top of their game and unrecorded until now on this impressive new Dropa Disc release. Evan Parker might be a member of some legendary trios – one with von Schlippenbach and Paul Lovens and one with Barry Guy and Paul Lytton – still this brilliant master of the saxophone and pioneer of free music managed to surprise us big time when he introduced his trio with John Edwards and Steve Noble to the Belgian audience in January of 2015. Together with this ultimate rhythm section – backing artists like Peter Brötzmann, Akira Sakata and Julie Kjaer, to name a few – Parker reals out a truly mesmerising demonstration, full of individual brilliance, but most of all with a collective cohesion rendered with majestic imagination and endless iridescence. Dropa Disc #004 Evan Parker – John Edwards – Steve Noble: PEN is the first release of this trio ever, fitting perfectly next to the best works in these stellar musicians ever expanding discography. Evan Parker: Tenor saxophoneJohn Edwards: Double bassSteve Noble: Drums & PercussionRecorded by Michael Huon at the Oorstof concert series, Zuiderpershuis, Antwerp 24 January 2015Edited & Mixed by Michael Huon and Koen Vandenhoudt at Odeon 120, Brussels 2016Mastered by Michael Huon at Odeon 120, Brussels 2016Live concert produced by Sound in MotionProduced by Koen VandenhoudtExecutive Producers: Koen Vandenhoudt & Christel KumpenCover Design & Layout: Pascal Cools First release for the stellar trio Evan Parker, John Edwards & Steve Noble.You can order the cd Evan Parker – John Edwards – Steve Noble: PEN (Dropa Disc#004) by mailing us here ! or go to the PayPal buy button.You want to order more Dropa Disc releases at once? Mail us for combined shipping prices here ! Extended text by Guy Peters (Enola Magazine, Gonzo Circus, Cadence … ): Without a doubt, Evan Parker belongs to the top league of free improvisers. For half a century now, he has been one of the most innovative, challenging and consistent members of the European avant-garde. Together with Alexander von Schlippenbach, Peter Brötzmann, Fred Van Hove and a handful of others, he is among the trailblazers who set and raised the bar. The best thing about it: he’s still going strong. When he appeared in the Oorstof series with the terrific rhythm section of John Edwards (bass) and Steve Noble (drums), we were in a for a memorable night. Parker is not only a legend because of his technical mastery and individual approach to the soprano and tenor saxophone, but also because he was/is a member and/or leader of several crucial bands. He was part of the legendary Brötzmann Octet that cut the Big Bang-record Machine Gun and he is a member of two of the most formidable trios in the history of improvised music: one with Von Schlippenhach and Paul Lovens, the other with Barry Guy and Paul Lytton. Also his documented trio with John Edwards and Mark Sanders is well-respected. Also his documented trio with John Edwards and Mark Sanders is well-respected. In the meantime, Parker has played with so many improvisers that it’s hard to believe his stunning trio with John Edwards and Steve Noble, until now, went unrecorded. Edwards and Noble are a tight rhythm section, appearing beside a.o. Alex Ward, Hans Koch, Alan Wilkinson, Peter Brötzmann, Sophie Agnel and, most recently, Julie Kjær. Though teaming up with Parker seemed inevitable the music generated by this trio – as displayed perfectly on this new Dropa Disc release – is stunning. There is no holding back, the musicians are not too respectful and it’s no feast of impatient fury either. No, instead we hear three masters displaying an enormous control of their respective instruments – with Parker sticking to tenor saxophone – without losing the overall cohesion of the performance. It’s rife with remarkable solo and duo moments, and even though these often belong to the highlights, you hear an exceptional solid unit. We were already familiar with the breadth of Steve Noble’s playing, as he appeared on Dropa Disc #001 (los bordes de las respuestas, by the Saint Francis Duo with Stephen O’Malley), but it’s exciting to witness his amazing dynamics, range of textures, energy and rhythm. Equally at ease within abstract expression as in inflammatory interaction, he is the guy you need for a balance of thoughtfulness and vital energy. Edwards is his ideal sidekick: a player with agility, intelligence and a physical approach that sometimes borders on harassment. Together they create an intricate, lively and surprisingly soulfulperformance, serving as foundation, trigger and sparring partner for Parker’s associative approach. As such, this exceptional concert is not about easy effects, wild climaxes or raucous energy. Instead, it’s a celebration of freedom and the direction in which it can be taken. During its best moments it sounds as if the music almost becomes self-evident in its organic cohesion. Not because the musicians rely on predictable patterns, but because the music seems to take over, flowing from three musicians in one identifiable language – something similar happened a few months later, when Ballister visited Oorstof, check the Dropa Disc #005 release. When you observe Parker in action, the man often stands there with a stoic, immovable pose, but these adjectives couldn’t be further removed from this music’s essence. The performance contained on this album is all about restless movement and ceaseless interaction. It is a celebration of the potential of improvised music.  

Evan Parker/John Edwards/Steve Noble: PEN CD

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When did you last hear a laugh out loud avant garde album? I’m hard pushed to think of any. Roland Topor’s Panic is a goodie, or some of the antics of the “Selten gehörte Musik” gang, but this is funnier, and my own personal favorite release on the label. Bohman’s approach to music has always shown a preference for the raw and unprocessed, although his 3 releases on Paradigm with Morphogenesis often use signal processing. On this CD, his first solo recording for Paradigm all the played music (except for one piece that uses slowed down and backwards sounds), are derived from the unprocessed sounds from the surfaces of a wide variety of objects that use a broken violin at its core. This CD attempts to cover the full variety of his different working practices which have been slowly evolving since the mid 80s. In particular there is a total of over 30 minutes taken from one of his many ‘talking tapes’, these tapes are made in very small editions and sent out as audio letters to other mail art correspondents (there is also an excerpt included on the first London compilation on Paradigm Discs). These tapes consist of on the spot lo-fi cassette recordings of his observations, both humorous, mundane and personal. Special attention is given to colours, signage and vernacular architectural detail, and favoured locations include: overseas visits, public toilets, restaurants and public transport, but it is the unpretentious wit and dedication that make these tapes so enduring. The sounds of the environment, the faulty recording mechanism and the frequent use of the pause button give these pieces an almost concrète, sound text feel. This ‘talking tape’ dates from Christmas, 1994. There are also 3 ‘pause pieces’ dating from 1990, which are multi-tracked, rapid collages of prerecorded sound material, also recorded on cassette recorders. This uses a similar technique (although independently developed), as that used by Anton Bruhin on his InOut CD on Alga Marghen. Finally there are 4 multi-tracked studio recordings, and one live concert recording. Crucial to all these pieces is the element of improvisation. Bohman has collaborated with a diverse cross section of improvisers, from Lol Coxhill to Joseph Hammer, and is one half of the ongoing theatre/improv duo The Bohman Brothers.

Adam Bohman - Music and Words CD

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Music and words 2 is the much delayed 2nd installment in an ongoing series of archival documents of Bohman's early work. As with the first volume, this CD is divided into 2 separate areas of his work. Adam is probably best known as an improviser, playing prepared instruments and objects, but the music here uses little of these purely improvised techniques. On this CD the musical sections consists of idiosyncratic lo-fi songs alongside short collage pieces and other experiments, recorded on stereo and 4 track cassette recorders. Most of these pieces date from the early 80s, but the earliest recording is from 1977. The spoken word sections on this CD are centred on excerpts from 3 talking tapes - a trip to Southend, a concert series in Wiesbaden and a day in the life, in London. Anyone who has known Adam for any length of time will know that he frequently records his observations to a small portable cassette recorder. These are often recorded for friends and music contacts from all over the world. As with the musical contributions, all these cassettes exist in very small quantities, often they are editions of only one copy.Although there is an obvious difference in these two types of recorded material, there exists a light and humourous common thread that runs through many of the 28 tracks. This is the third solo release from Bohman on Paradigm Discs. He also appears on all 3 of the Morphogenesis CDs, as well as contributing to the first ever Paradigm release, Variations, a compilation of London based artists, from 1995.

Adam Bohman – Music and Words 2 CD

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