Resourcefulness is sometimes presented as a humble quality born of necessity. But it’s a foundational tenet of the exceptionally unconstrained members of improvising trio Tamarisk, consisting of Christina Carter, David Menestres, and Andrew Weathers. Their latest is a continuation of the interplay they’ve developed for a few years now on a handful of releases and while touring. Like the most bizarre sort of jazz combo, Tamarisk grazes the orbits of outré free improv, moody balladry, object play, staccato scraping, and the contemplation of vistas and landscapes. Vocals vacillate between polished and raw, reaching bravely toward the upper and outer ranges, long-intoned, with spoken word elements and dramatic pauses between broken phrases and wordless utterances, all awash in arrivals and departures. The recordings are anchored with a broad array of techniques that admirably deconstruct an understanding of pacing and conventional movement in music, instead favoring constantly fluctuating textures and timbral variety. Unhinged chords, dissonant counterpoints, sprinklings of prepared work, scraping, and bowing. This is a trio of sharp listeners who are unafraid of intimacy or dynamic extremes, and it enables a deep exploration into their own core. Tamarisk seems to ignore time altogether, dropping into a shared state of receptiveness that yields strange and compelling results throughout the album. --- Christina CarterDavid MenestresAndrew WeathersRecorded at Wind Tide, Littlefield TXMarch 29 - 31, 2022Mixed and Mastered by Andrew WeathersAlbum sequenced by E. Lindorff-ElleryArtwork by E. Lindorff-ElleryPrinted by Small Fires Press

"Born in 1945, Guo Yongzhang has performed zhuizi - a traditional Chinese style of narrative singing - for half a century. An artform whose history spans over a century, zhuizi originated in Henan province. Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping.  Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style. He sings with deep feelings and great verve. Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour. Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time. As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi. He worries that this precious art form may soon be lost.  This release, titled after one of Guo Yongzhang’s most well-known songs, Lao Lai Nan, commemorates his performance at the 5th Tomorrow Festival. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, 2018. His performance was recorded live and is due to be released on both CD and LP by the Old Heaven label in November 2019. --- Guo Yongzhang /  Zhuihu, Zhuibang, Vocals --- Recorded in the late-1980s, Released in 2018

One more to round out what has been a very busy year for Mole. "Nothing had been heard for some time now...not a sound, and the animals had fallen into a deep sleep. The dishes were done, the fire burnt out. There sat an unfinished puzzle on the dining table, a messy pile of scrawled poems on the sideboard and a partially enjoyed novel strewn over the arm of a chair. Yet in all of this quiet, a faint rumble and clatter began to sound. Not one of mechanical origin but certainly something moving closer...and most certainly in a hurry…" --- All music by The SprigsImages by Beverley GoodingInspired by Kenneth Graham’s ‘The Wind in the Willows’Introductory text by The SprigsAdditional text by Wesley Knowler included in cassette version.

Available as 320k MP3 or 16bit FLAC Tracklisting 1. Project Space - 20:37 2. Clock Tower - 19:38 Ute Kanngiesser's first cello solo release, recorded direct to tape at two locations: The Cafe Oto Project Space, and the clock room at St Augustine's Tower, Hackney. --- Ute Kanngiesser / cello --- Recorded and mixed in Spring 2015 by Edward Lucas and Daniel Kordik.Embroidery by Meghan Springer Thanks to Cafe Oto and Hackney Historic Buildings Trust.

Available as 320k MP3 or 24bit FLAC   Tracklisting: Gnarlage Of Self 1. 10 Banks Of The River Nein 2. Extinct Lord 3. Galling Truth 4. Bent Oath Scenario 5. It's A Fuck On (From Jeuvre's "Time Under Hark") 6. Decalage For 3 TVs In Layering Off Dario 7. Decalage In Vivid Counts 8. Degnarlage In Test Card Frame 9. Prelude To Speedo Foyer 10. Make Your Own World Now (From Hadbegor's "Sleep Yer Lives") INTROSPEX / ORTRESPOX 11. INTROSPEX12. ORTRESPOX "The  Godfather  of  Wild  Pop." "'Trouble  Number'  is  a  major  retrospective  of  four  decades  of  peerless,  visionary,  and  feral  production  from  Gwilly  Edmondez  -  the  dad  from  Yeah  You.  This  90  minute  package  cherry  picks  from  hundreds  upon  hundreds  of  hours  of  psychoanalysis  through  pop  waste,  performed  by  Gwilly  upon  himself  since  the  founding  of  his  '80s  outfit  Radioactive  Sparrow.  Bewildering  and  basically  incomparable  in  its  entirety,  'Trouble  Number'  mongrelises  strains  of  hip-hop,  black  metal,  folk,  power  balladry,  more  more  more,  with  a  properly  prophetic,  popwise  soul.    Pay  your  respects." Says  Gwilly: Gwilly  Edmondez  just  grew  as  a  character  project  in  the  mid-1980s,  offshoot  from  the  to’l-spon/non-com/pop-kak  invention-pool  that  was/is  Radioactive  Sparrow,  itself  founded  by  a  group  of  Bridgend  (13-year-old/non-voter)  elements  in  1980.  Gwilly  is  a  solo/collaborative  improvisation  that  started  out  making  fake,  unwritten  rock,  then  progressed  in  the  1990s  to  real  unaccompanied  rock,  before  settling  into  a  mode  of  practice  defined  by  sampling,  tapes  and  vocals.  Over  many  years,  Gwilly  has  struck  up  many  material  partnerships  and  misadventurist  associations  of,  with  the  likes  of  James  Joys,  Val  Persona,  Faye  MacCalman,  Karl  D’Silva,  Tobias  Illingworth,  Laura  Late-Girl,  b-cátt,  Odie  Ji  Ghast,  THF  Drenching,  Tony  Gage,  Richard  Bowers,  People  Like  Us...  But  in  the  end  none  more  so  than  Elvin  Brandhi.  ‘Gnarlage  of  Self’,  the  C30  album,  was  made  on  Newcastle’s  hottest  day  in  2017,  in  an  upstairs  room  in  Heaton,  recorded  by  Dario  Lozano  Thornton  with  Schoeps  MK2/MK8  pair  to  Sonodore  preamps  in  one  take  subsequently  edited  and  disorganized  by  Dario.  ‘Gwilly  Edmondez:  A  Retrospective  Mixtape  Made  Questionably  &  Unquestioningly  by  Himself’  started  out  as  a  kind  of  slapstick/slapdash  best  of...  but  quickly  became  its  own  entanglement  of  old  stuff,  new-but-unused  stuff  made  for  the  C30,  and  bits  of  recent  live  sets.  The  first  half,  side  one,  tries  to  bungle  blindly  into  the  nature  of  supplication,  confession  and  self-condemning  introspection  –  find the  self  then  kill  it;  side  two  starts  on  the  other  side  of  death  inhaling  wafts  of  cheap  air  freshener  as  a  means  to  hallucinate a personal  history  that  never  could’ve  happened  anyway,  before  scrambling  back  through  the  rear  end  of  personality  only  to  be  consigned  to  liturgical  palliatives  in  a  manner  carried  out  by  his  countless  forebears  of  the  cloth.  It  could  only  end with “Walken’s  Kiss”,  a  sardonically  pronounced  cliffhanger.  --- Music  & Artwork by Gwilly Edmondez. Mix and Edits by Dario Lozano Thornton and  Gwilly  Edmondez.