Limited edition of 300 glass mastered CDs in gatefold card with arwork by Gwendolyn Lovequist  "Recorded in one sitting in 2016, the four pieces of Natural Realms present a rather crude, yet elegantly networked system of musical logic combining natural harmonics, rhythm, and feedback. Ringing in increased zones with the shimmer and tempo of audible processes, Lopez and Eubanks assemble visions of a music both old and novel. Foreshadowing the sonic edifice of their 2019 collaboration Wave Forming with Catherine Lamb, this is truly a music at play with the proliferation of ellipses, bifurcations, and doublings and in the sabotage of time and number." - Jenny Haniver Between 2014 and 2018 Bryan Eubanks and Xavier Lopez developed an analog networked duo music based on the harmonics of random feedback, using this information to shape generative rhythms and other juxtapositions in real time. Adding soprano saxophone and percussion to the mix made what could be a stable machine system human again – a machine is not a thought - flaws and fluctuation giving life to momentary crystal time forms. The music in this debut recording captures this idiosyncratic work at it’s height, recorded on an August afternoon in the front room of Studio 8, a bar in Berlin-Wedding which regularly hosted concerts from 2013 – 2018. The recordings are raw, unprocessed improvisations, capturing a decisive music at work.

An extremely limited numbered and stamped edition of 50 glass-mastered CDs with individual covers painted by artist and philosopher Tim Bradley. Packaged in a beautiful painting on paper and polyvinyl sleeve. Three live recordings of an electro-acoustic work developed and performed in 2013. A mesmerizing fusion of sine tones, open-circuit electronics/feedback, samples, and tuned noise, these structuralist compositions navigate the intersection of compositional rigor and the spontaneous energy of live performance. Captured during a double solo tour across the Northeastern USA alongside Hong Chulki in February 2013. Series (E/A) [2013[ sine tones, noise, samples, open-circuit electronics Bryan Eubanks

Magazine is a new work for solo cowbell by Sean Meehan. It began with the serendipitous purchase of a small cowbell from the bric-a-brac section of a charity shop, and was composed initially on walks in the city and country, as the bell was an easy companion. As the piece was beginning to take form Meehan was visiting Governors Island, off of the southern tip of Manhattan. There he happened upon the powder magazine of Fort Jay and began finishing the piece over returned visits. The powder magazine is an underground vault and therefore very quiet (rare in New York City). It is also entirely made of stone, has an arched ceiling and no parallel surfaces, so it is live and responsive but with a quick decay. Ideal conditions for recording an entirely staccato work. Just as the acoustics of the space began to inform the piece, so did thoughts of the room's history and purpose, its modern day equivalents, and their mutual futility. Though not originally intended (or desired), these ideas became inseparable from the work for Meehan

CD in Digisleeve case with bi-lingual text in June 2024 MAI mai visited London on a family holiday. He was asked to play 2 concerts, one at Hundred Years Gallery with Zheng Hao, Li Song & Blue Harbour. The second at a private address with The Real Leyton Library, Conal Blake, Li Song & Rory Salter. This CD documents 2 sets from the second concert. MAI mai : amplified guitar (electric & acoustic), voice & feedback Li Song : laptop Rory Salter : amplified guitar (electric) & self oscillating amplifier

Recorded the same year as the legendary Osaka Bridge was released, “Bill Wells Presents” is a document of a life changing tour of Scotland and its Highlands by Bill Wells and his friends Kazumi Nikaido, KAMA AINA, Maher Shalal Hash Baz and Tenniscoats. Brought together via Stephen Pastels’ Geographic Records, “Bill Wells Presents” is a reminder of the life affirming musical relationships that can form with the support of labels and funding bodies who act with open minds and hearts. “Bill Wells Presents” contains a condensed version of the Scottish tour, featuring previously unrecorded music from KAMA AINA, Kazumi Nikaido and new compositions written on the occasion of the Scottish tour by Tori Kudo.“Kazumi Nikaido was introduced to me by way of Koki Yahata who was working for the Japanese label P-Vine who had released Also In White (Geographic, 2002). When I toured Japan with Maher Shalal Hash Baz in 2004 Nikaido joined for a couple of the dates and also appeared on GOK (Geographic, 2009). When I first heard her he thought that she was a remarkable artist and mesmerising performer. Similarly, I met Takuji (KAMA AINA) while on the same tour; we did some recording together and he also played and recorded as part of the band in Tokyo. I knew about him previously as we were both on Stephen Pastel’s Geographic Records.That was also how I met and got to know the Kudo family and Tenniscoats. Regarding the music; this record is an attempt to make a condensed version of the full show that was played nightly on the Scottish tour. Everyone played different sets each night, though some were more different than others. However, as far as I know, the CD features the only recording (at Wick) of pieces which Tori wrote for Maher Shalal Hash Baz while on that tour.” - Bill Wells  --- Kazumi Nikaido - guitar, vocalsTakuji Aoyagi - vocals, banjo guitar, percussion, bassSaya - vocals, keyboards, pianoUeno Takashi - guitarReiko Kudo - vocalsTori Kudo - keyboards, piano, guitar, vocalsNamio Kudo - drums, percussion (Tolbooth)Mitch Mitchell - drums, percussion (Aberdeen & Wick)Robert Henderson - trumpet (Tolbooth)Bill Wells - keyboards, piano, bassTracks 1, 4,5, 10-14 & 23 recorded by Dave Lewis at the Tolbooth, Stirling on 13.4.2006Tracks 3, 9 & 21 recorded by Bill Wells at The Lemon Tree, Aberdeen on 16.4. 2006Tracks 2, 6-8, 15-20 & 22 recorded by Bill Wells at Lyth Arts Centre, Wick on 21.4.2006Tracks 1-3 written by Kazumi NikaidoTracks 4, 6 written by Takuji AoyagiTrack 5 written by John OxenhamTracks 7, 9, 10, 11 written by Saya & Ueno TakashiTrack 9 Trad arr. Saya & Ueno TakashiTracks 13 ,14 written by Reiko KudoTracks 12, 15- 21 written by Tori KudoTrack 22 written by Bill WellsTrack 23 written by Reiko Kudo & Bill WellsCover image by Jad Fair, design by Hannah Marine.Thanks to Jackie Shearer, Wendy Niblock, John the bus driver, Alasdair Campbell, William Wilson, Evan Henderson, Gordon Maclean, Koji Saito, Koji Shibuya and Thorsten Lütz.Bill Wells acknowledges the support from the Scottish Art Council’s ‘Tune Up’ award scheme.

If Alan Licht ever continues with his revered Minimal Top Ten lists then Sam Esh would surely be added to the pile.Penultimate Press is proud to release one of the most audacious and unrelenting entries in the entire minimal cannon. A collection of recordings from a true American eccentric maverick pioneer, Sam Esh. Originally available as 2 x cassettes in tiny editions on Mike Rep Hummel’s Old Age / No Age label these are now bound together on a 2CD set which does not interrupt the unrelenting creativity of Mr Esh. What does it sound like? Picture Moondog taking a turn for the far worse morphing into a way further crazed Legendary Stardust Cowboy who eschews any song tradition for an unrelenting hypnotic acoustic hurricane complete with glossolalia vocals.This is raw primitive repetitive street blues, an acoustic freight train barreling through your brain. It is unlike anything you have encountered prior.

Luc Ferrari -- along with Pierre Schaeffer, Pierre Henry, François Bayle, and others -- is one of the pioneers of the particular style of tape music known as 'musique concrète'. More significantly, he must be counted as one of the most complexly, most idiosyncratically compelling of post-War composers. Ferrari has time and again ranged far afield of musique concrète, and Interrupteur/Tautologos 3 is one such foray into instrumental music. But what a setting-forth! Mon dieu! These particular realizations came about through Ferrari's directed improvisations of Konstantin Simonovitch's ensemble, and the recordings were originally released in 1970 by EMI in their 'Perspectives Musicales' series. 'Interrupteur' is largely static music, a music of long tones periodically interrupted by aleatoric events. If it references musical minimalism (particularly Terry Riley, Steve Reich, and Robert Ashley), this surely counts as an intuitive, very personal result. 'Tautologos 3' pursues the idea of the superposition of cycles of different lengths that, once set into motion, will continually result in new events. Conventionally understood, a tautology is a redundancy in which the same meaning is expressed in different works; the same things are 'said' repeatedly in 'Taulologos 3', but as the context shifts through the displacement of the various cycles, how could there be no gain, no furtherance of both logic and sensation? In a world: exhilarating.""Interrupteur" is from 1967 and features the following instrumentation: English horn, clarinet, bass clarinet, French horn, trumpet, violin, viola, cello, two percussions, two electric organs. It is one of the most outright powerful and devastating recordings within the avant garde realm. "Tautologos 3" is form 1970 and features: flute, oboe, clarinet, trumpet, trombone, viola, cello, double bass, electric guitar, electric organ & vibraphone.

One of his final works, Les Arythmiques finds the late musique concrète veteran Luc Ferrari engaging with the cardiac condition that struck him towards the end of his life. Inspired by the jolt of electricity that was prescribed to combat his arrhythmia, this album is a collection of all the sounds Ferrari recorded on his travels over the final few years of his life - an assemblage of images he bluntly describes: "as one says of a drowning man's life passing before him". The forty minute montage pieced together here is continually interrupted by surges of electricity and stuttering timeline edits, designed to mimic the electric jolt Ferrari experienced in hospital. Given that Ferrari passed away not long after the composition was completed, there's an extra degree of pathos installed in these recordings, and the metaphor at the heart of the work proves to be a powerful one indeed, expressing the relationships between age, memory, sickness and mortality.

"For his second album as a full leader, Nilssen-Love could not have brought together three more positive influences." -Andrey Henkin, All About Jazz — Recorded and engineered at decibel.no, at Byorkesterets Hus during the Kongsberg Jazzfestival 2002. Double Bass – Ingebrigt Håker Flaten Drums, Percussion – Paal Nilssen-Love Piano – Sten Sandell Tenor Saxophone, Soprano Saxophone – Evan Parker

Recorded at the Dixon's Theatre, Westcliff on Sea, Essex at 8pm on 8th August 2003 as part of the 'New Music Days' series of concerts for the 2nd Southend International Jazz Festival.

Recorded live at The 21st Century Museum of Contemporary Art, Kanazawa (2016) soprano saxophone – Evan Parker (tracks: 1) drum set, percussion – Roger Turner (tracks: 2) electric violin, electronics – Hideaki Shimada

Live album by saxophonist Evan Parker, bassist Barry Guy, and drummer Paul Lytton. It was recorded on June 26, 1996, at The Vortex in London, and was released by Emanem Records in 1998 Excerpts from sleeve notes: Two sets of circumstances, both too involved to be fully detailed here, resulted in the Parker/Lytton Duo of the 1970s transforming into the Parker/Guy/Lytton Trio of the last dozen or so years. The first was the 1981 duo record INCISION by Parker & Guy, which led to Guy being added to the group. (He had, of course, previously worked with one or both of the other two in various groups as far back as 1966.) The second, a few years later involved a time when Lytton's mighty percussion and electronics kit was in a different country to himself, so he had to borrow a fairly conventional drum kit. This worked out well musically, and was much more practical for club gigs, so from then on his own fairly conventional drum kit became the norm. The instrumentation thus became the same as that of certain classic Jazz and Free Jazz trios, and the music became influenced by these precursors, even though it has remained Free Improvisation. The trio has performed fairly frequently ever since, even though all three members often perform in other groups and situations as well, so there is no shortage of excellent CDs and LPs by them. This CD, however, is different in that it features longer performances moving at a more natural pace than hitherto available. The relaxed and freewheeling music reflects the situation of performing in a club before an audience of mostly hard core fans - home territory, as it were. The Vortex is an excellent, smallish club in Stoke Newington, an inner suburb of London, with an eclectic programme that features Jazz, Free Improvisation, Folk Music, Cabaret, and various combinations of these.  When it is full, as it was on the evening in question, there is literally no space between the musicians and the audience, but by contorting the mike stand, I managed to get the lone stereo microphone into a position over the front of the audience, and get a recording representing what one would hear if one stood just in front of the band. I subsequently digitally remixed it slightly to get a more acceptable balance for home listening. Since both Barry Guy and Paul Lytton live abroad, this trio is rarely to be seen in London, so that when it does play there, a large enthusiastic audience is guaranteed. Such an audience generally feeds-back to the musicians, spurring them on to even greater heights than usual, as happened on this occasion, resulting in music that is more outgoing than would probably occur in a studio situation. All of the music performed that evening is presented here unedited - a complete document of this trio working at full steam. MARTIN DAVIDSON (1998)

British sax giant Evan Parker has a good number of recordings in duo with other saxophonists, and the list of notables includes Ned Rothenberg, Peter A. Schmid, Joe McPhee, Wolfgang Fuchs, Anthony Braxton, Steve Lacy, Lol Coxhill, Hans Koch, and Louis Sclavis. Now, we can add Urs Leimgruber to that pantheon. In truth, the Swiss tenor and soprano explorer was already their pair among the most inventive, skilled and individualistic reedmen in activity – finding him in the company of one of the great pioneers of free improvisation signifies a definitive and more than just recognition. Using the same tools and the same procedures don’t prevent that everything else distinguishes the two saxophone players: Parker is a physical, sometimes visceral, musician, even when his phrasings get complex and tricky, and Leimgruber is cerebral and mathematic in every situation, including the moments in which the music boils. Those differences don’t imply a lack of communication between the two improvisers, but the opposite: the disagreements, more than the encounters, are what makes “Twine” such an amazing, puzzling and defying CD. This is a music of creative dissent, not of false peace.

Real-time improvisations, to be played at maximum volume. Recorded at Eastcote Studios, London, UK, May 4th, 2008. Cover collage by Cody Brant.

Long, long ago there was a time when the gods had their say our worldly goings on and the nymphs, hetaerae, centaurs and satyrs had not yet been banned to the outer regions. In these mythic times, the goddess Athena invented the double-reed flue or Aulos. Legend has it that the Aulos was the first ever reed instrument; it was the first time a vibrating reed was ever used to make music. However, her vanity got the better of her and made her throw away the instrument: the other gods mocked her for the way her cheeks ballooned out when she played the double reed. From that moment on goddesses have never played the double reed again. By chance or rather by fate, the satyr Marsyas found Athena's double reed. Marsyas, being a shepherd, had nothing else to do the livelong day than tend his sheep and play the flute and he soon became a virtuoso double-reed player. There are conflicting reports and legends about how all this went and how it ended. According to some, Marsyas, blinded by hubris, challenged the god Apollo, the lyre player par excellence, to a match to see who could play the most beautiful music. The muses, those knowers of beauty would act as the judges. The winner could do whatever he wished with the vanquished. Others relate that it was Apollo who, in a fit of jealousy upon hearing Marsyas brilliant playing, insisted on a duel. So, it wasn't a matter of earthly overweening pride after all but the actions of a jealous over-sensitive, intolerant god. Of course, Marsyas lost the match. These muses were highly untrustworthy, biased, tendentious referees. Some sources say that it was initially a draw, after which Apollo played his lyre upside down with the same virtuosity as right side up. As Marsyas could not play his flute upside down or back the front, he lost the match for a completely unmusical circus act-like reason. Apollo's music did not sound any different or better when played upside down. Others claim that Marsyas won the competition outright from the outset, after which Apollo, feeling cornered, began to sing accompanied by his lyre. Marsyas protested fiercely: this was a match of instruments and not of singing. Apollo then argued that blowing on an instrument and singing were pretty much the same thing. Yet other sources claim that Apollo cast a spell on Marsyas such that all he could produce were raw squeaking, squawking screaming sounds... Whatever the true story may be, the untrustworthy muses declared Apollo the winner. As a result, Apollo punished Marsyas for his pride, nailed him to a tree and skinned him alive. The gods can never be trusted: they are jealous and overweening; they manipulate and cheat, to be brief nothing human is strange to them. Here is Marsyas the satyr's redress or 'Wiedergutmachung': the virtuous double-reed playing of that maestro in under- and overtones, circular breathing and multiphonics, Evan Parker, accompanied on the double bass by Peter Jacquemyn, who, next playing the strings in a variety of conventional and unconventional ways, also makes use of his own voice as the ultimate musical weapon. He seldom if ever plays his double bass upside down, however.

UK multi-reed master Evan Parker brings an all-star electroacoustic septet to the 2014 Victoriaville Festival for the massive and wonderfully detailed two part composition "Seven", performed with Peter Evans, Okkyung Lee, George Lewis, Ikue Mori, Sam Pluta, and Ned Rothenberg.    "Seven presents a compact, slimmed down, lean version of Evan Parker's Electro-Acoustic Ensemble. The expansive, texturally rich music of the septet brings to mind the edgy feel of early free improvisation. Parker's compositional method is simple: "My art of composition consists in choosing the right people and asking them to improvise. The resulting music arises from this sequence of decisions and these are the right people". It is worth noting that in early free improvisation - say from the period of Topography of the Lungs (Incus 1, July 1970) onward - much of the tension in the music - which is the push-and-pull between known and unknown, cohesion and dissolution - was due to the players' courageous ongoing expansion of instrumental language. But players have pushed language to its virtual tipping point; so that what once sounded outrageous and demanding of innovative responses is now heard as commonplace. So presently, it seems, formal expansions - such as we hear in the collusion of logic differentials in this music - may be more the way forward. It all adds up to exceptionally stimulating music for the listener, at the center of which is an edginess we've long associated with classically great free improvisation."-Henry Kuntz

"The music comprises three extended tracks totaling seventy minutes. It bears all the hallmarks of the larger ensemble's music, but with less going on, particularly in terms of treatments of the music. There is clearly good understanding and interaction between the four players, with Parker leading from the front. When one considers that the previous album 'Hasselt' credited fourteen musicians, half of whom were using electronics and/or processing, it seems logical that the music here would be simpler and communication better. As is always the case with resonant spaces, the hall here is effectively a fifth player. To their credit, the four human players soon found the best ways to play with the space, the end results doing justice to all five. Parker's own comment on the album is both true and wittily quoteworthy: "The music here still sounds fresh and, in fact, could have been recorded tomorrow." Yes, spot on, Evan". -John Eysles, All About Jazz — 1. Ichi 26:08 2. Ni 23:16 3. San 20:30 Recorded live at Iwaki City Art Museum, in Fukushima, Japan, on October 5th, 2000

"The FIMAV performance is an extraordinary recording, an aural opportunity to hear the Ensemble exploring at length, stretching the contemporaneous studio documentation, but even with the Ensemble’s brilliant and transformative history, Sainkho Namtchylak’s spontaneous addition to Fixing is unique. Namtchylak’s intensity transcends the metaphoric. This performance is not folkloric. It is folklore. It is not shamanic. It is shamanism. The ElectroAcoustic Ensemble is one of the most significant events in the humanization of electronic music, in making it mobile and spontaneously responsive. Fluctuating, by the Ensemble itself, is more than a valuable document, it’s a major revelatory work." - Stuart Broomer